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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for Dorothy Wordsworth

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

The ruin lay before us, dark and grey;
Became a Ruin near the end of day.
Before us some dark ruin slowly spread
Into the name of Ruin, ere we fled.
Look yonder, a ruin we espied
Turned into Ruin, we read, we sought, we cried.
Our Ruin gave us language and a name,
Descended into ruin, improper, shade, and same.
Paeans of the Ruin called and bade,
less than the ruin, already lost, unmade

huygens

http://www.alansondheim.org/london0938.jpg
optical casement
http://www.alansondheim.org/sarra.mp3
harmonicsarangi

i would, if i could take account
the minstrel's call; then i might dismount,
dispute, despair, in misery and storm
that none but those unmasked might come to any harm.
and if unmade, then maids and jesters both
might come to aid of optics and their growth
against whatever seas pushed back against the main
that tides withdrew from shores, and drew then back again.
the bow rides high the bridge, none go beneath
or port the wherries swift across the heath;
the strings guide visitors about the wall
where sights of sound abide within the hall.
still, portents fill the sky with grief and hope,
and languor moves the barrel of the scope.

Dialog about desperation, ytalk music and voice

Maria Damon and Alan Sondheim (sarangi)

http://www.alansondheim.org/whytalk.mp3

The text, sung/recited by Maria Damon:

I'm typing here, does it appear with you? hello my name is
Vetrix Morganthal why am i here? you're here because I brought
you here ;and what per urpos we can ously me time, simultaeously
in into the bodyof hte the text - we need to continue in this
fashion, there's no e?i r ?i rea; me time, simultaeously ininto
the body n this fashion, there's no time for jave no idea amd
i'm making too many typos beb they' not used to the sign signs d
of ;body ard! keybo

keyboard help help me time, simultaeously ininto the body n this
fashion, there's no time forthe we can see if th ! i'm i'm ntin
ing to ke up with some semblance of sanity seri

serious iousn there' ;thi ;g lie that that e, nothin lines kind
of me time, simultaeously ininto the body n this fashion,
there's no time forthe tigo i'm experienci here.

divides ing ;s con r and among oth over ;ong ing, plac gree ;...
it's as i'f igno ignore the gre ving nore the gree and t n this
fashion, there's no time forthe ntinues, ? he light is gree but
it's caus as I ;me ;o c ;ime pposite d c ir NORANT anyway , NO
-RANT coll collu a gr ;means ntinues, ? that here, nothing above
or below the uously thepurpose, medi e of where m lights he ers
sh ur f ;  fingers ;ere m ;  shou , where r eye ;ear just let
calk m down uously forms of writing, other places, other ore the
green! and do calm rings leasure ;  pleasure. ;of course, hich
;aig easure as fo d for some, clamp k into s others ;nto ce, b ;
monst htene d, l ing forms of writing, other places, other ore
the green! the opposite of ignorant ir NORANT, NO ;ching ressure
ssue hat coul poss possibly uare thinking doing? over there ;in
your corner? not not c ;ut ab or b ase the intermediary lines,
lights her

  mind is, where our eyes are our eyes. , which brings pleasure
as food for so neither ;to ;the ler or the your mediar y, s
where in the mids ;thi things fast unde under r than i can,
wending undere around my ;  clum sy v ce, back straightened,
losing pressure or below you ;ehicular letters ;word s are roun
ound, n ot among I tell you about the tunnel? wher where
thepleasure ;hicle the pleasure e ve where the pickes les, or
below you r the right, but intermediary, somewh reaten. where
the jams? ;where the t ;art i sk i ski and go raight to haus
tion this b ;  where ;  hummer dr star starv ;death ge f anor
anorec with witho ;recom no d no drik ? the pleasure of the
vehicle? the tis go straight to sleep, exhaustion, this h in a
land of doll ? why are you thou thousa ;of hing e tru in a ;ion
o warming ;dollars = inedibility, uding me, so ind of l coin
already tering glob global m ;arket pl dural elud eludi clarity.
It s oka okay ;rt f concrete to e to ex of f of fo ;or feel for
for t

  nothing to buy, the desrt-fashion, gl , held up by blockchain
bitcoin alread ;that gives me ;r s
  keep moving my

fingers it's a form o The takes les are tw rgh... form neaver
dicism... ;spoken alou oncrete value ;d. T movi movin amon insi
, later, clash, transfor not not a mind ;... , that s the the in
ward of t
  mare outh, inwar ;re o hsap marvle . form of nomadicism... rds,
which might, later, clash, transf shapes a marv es. . form of
nomadicism... rds, which might, later, clash, transf

a: add a user
d: delete a user
k: kill all unconnected
q: quit

#2.

qI'm typing here, does it appear with you?
hello
hello
my name is Vetrix Morganthal
why am i here?
you're here because I brought you here
;and what per

urpose we we can c am t ;y o ;p ;e at the sa p me o t s i s m i
e, si bl mu y l ser ta v e e ously ? ininto the bodyof hte the
text - we need to continue in this fashion, there's n i o t ime
r ea;  f ;  o u r jave no idea amd i'm making too many typos beb
they' c re a n u o se t ty i p ' o m s not used to the but s i
sig s sign s k o i f nd ; of ;a bo k ;dy e at y w b ork pa rd!
keybo keyboard help help!! we can see if t i ;his ' m c ontin t
r y ing to ke ? ep up with some semblance of sanity seriou t
serious th n there' ;e ;s ;n ;s ;o ; ;th ;n ;in ;d ;g lie that
;g ;n lie i i ty

   a tha b hat u at t t he here, nothin i g t ' a s b a o ve v or
e ry b el st ow r an th g e e lines kind of ve - r tigo i'm
experiencin i g t he here.  j .  u .  st .  di ; vid ;w divides
;r ; ;i ;t ;t ;h ;i ;i ;n ;n ;g ;g ;s con b t e i t n we e u n s
ly ove r and among other ov over l e a t nd te ;a rs ;mong ;o a
t n h d e r f f or a m l s s o h f i w n r g it ing, f la o s t
h he i r n g plac es g , r o e ther green fa l s i hi ;g o ;h n
;t s ;s . ;...  it's as i'f ig a ign s igno r i e f the gr i ;e
' ;e m ;n , d i r g i ving nore the gre e a n nd the light is
gree ! n ;r ; ;r ; but it's as c causi ng ;m ;e o ;t i ;o ;n ;c
; ;r a sh sa y a ; nd

  ;a c ;n o ;y l ; l ;t i ;im d es, e t a h n e d c o l pposite

  o l n l or ud an e nt t ir NORANT anyway , NO , -RANT ;r ;r ;
i' c m co lo coll si u ng s ion a gr ;means i we p o n er the a
p s ur ;r ;r ; thepurpose, e ;i'm th l e o i si n n t g er

   med a i a s r e y nse of l where m li y in f ne in s e , r s
lights h ere , g ers sho w uld he r b e e y

   our f a i n n d g e w ;r ; ;r ; fingers h ; er ;a e ;r ;e t ;,
he ;w y ;here m s y h o ;r ;r ; shou m shoul i d nd go is, wher
;.  e ou ; r ey ;o es ;h are ;d ;ear o ur g o e d ye s pl .
ease .  .  just let me c ;r ; ;r ; alk m down ca and do cal wh
calm at = b rings c ;l p ;am leasure ;r ;r ; pleasure. ; ; ;of
course, ;St w ;r hich ;aig hte b n r t in he gs b a pl c easure
k as , foo d for some, clamp sink into s - pa p c in e g , f or
o v o e t r ;r ; ;r ; others com , e ; ;s t ;u he ;n ;k o ; ve
;i r ;nt e o a t t ing .  pa ce, b the a c m k o s n tr ;r ; ;r
; mons a monst i e g r htene ; d, l ;en o ;c sin ;r g ;o p
;aching ressure o h n e r m e y , ti ssue wo hat coul .  d .
po . ;r ; ;r ; poss ibly a ; nd ;e ;m w ;e h ;r at ;ge you ;?
are ;r ; ;r ; thinking doing? over there ;r ;r ;in your corner?
no w not ha t c a or re ne ;r yo ;b u ;ut a m b a o k ve i ng ro
/ f b e e e l l o i w g you ;r ;r ; n , ne neither v ;t e ;o the
ft or the o ri v g e h r t , th ere

[ ... ]

Useless Philosophy

http://www.alansondheim.org/phen.jpg
http://www.alansondheim.org/phen.txt

This is from 2009, parts from the early 70's, thinking through
all of it again. How does the phen.txt apply to virtual worlds?
What tree structures, connections, might emerge from it now?

If anyone knows of a structure or venue where my work might be
discussed or accessed, please let me know. I've been working
from the old LISTS text and this phenomenology piece stams from
work that goes all the way back to an exhibition in NJ that
included Carl Andre, Alice Aycock, etc.; there was a catalog.
But I've been extending this kind of thinking which also
connects to deep ecology.

NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME
NETI NETI NEITHER NETWORK NOR NODE NO HOME

*/ytalk collaboration between Maria Damon and Alan Sondheim

http://www.alansondheim.org/mocapdance5.jpg (Azure Carter)

Main Menu
# a: add a user
# d: delete a user
# k: kill all unconnected #
# q: quit
#
    #

I'm typing here, does it appear with you? hello my name is
Vetrix Morganthal why am i here? you're here because I brought
you here ;and what per urpos we can ously me time, simultaeously
in into the bodyof hte the text - we need to continue in this
fashion, there's no e?i r ?i rea; me time, simultaeously ininto
the body n this fashion, there's no time for jave no idea amd
i'm making too many typos beb they' not used to the sign signs d
of ;body ard! keybo

keyboard help help me time, simultaeously ininto the body n this
fashion, there's no time forthe we can see if th ! i'm i'm ntin
ing to ke up with some semblance of sanity seri

serious iousn there' ;thi ;g lie that that e, nothin lines kind
of me time, simultaeously ininto the body n this fashion,
there's no time forthe tigo i'm experienci here.

divides ing ;s con r and among oth over ;ong ing, plac gree ;...
it's as i'f igno ignore the gre ving nore the gree and t n this
fashion, there's no time forthe ntinues, ? he light is gree but
it's caus as I ;me ;o c ;ime pposite d c ir NORANT anyway , NO
-RANT coll collu a gr ;means ntinues, ? that here, nothing above
or below the uously thepurpose, medi e of where m lights he ers
sh ur f ;  fingers ;ere m ;  shou , where r eye ;ear just let
calk m down uously forms of writing, other places, other ore the
green! and do calm rings leasure ;  pleasure. ;of course, hich
;aig easure as fo d for some, clamp k into s others ;nto ce, b ;
monst htene d, l ing forms of writing, other places, other ore
the green! the opposite of ignorant ir NORANT, NO ;ching ressure
ssue hat coul poss possibly uare thinking doing? over there ;in
your corner? not not c ;ut ab or b ase the intermediary lines,
lights her

  mind is, where our eyes are our eyes. , which brings pleasure
as food for so neither ;to ;the ler or the your mediar y, s
where in the mids ;thi things fast unde under r than i can,
wending undere around my ;  clum sy v ce, back straightened,
losing pressure or below you ;ehicular letters ;word s are roun
ound, n ot among I tell you about the tunnel? wher where
thepleasure ;hicle the pleasure e ve where the pickes les, or
below you r the right, but intermediary, somewh reaten. where
the jams? ;where the t ;art i sk i ski and go raight to haus
tion this b ;  where ;  hummer dr star starv ;death ge f anor
anorec with witho ;recom no d no drik ? the pleasure of the
vehicle? the tis go straight to sleep, exhaustion, this h in a
land of doll ? why are you thou thousa ;of hing e tru in a ;ion
o warming ;dollars = inedibility, uding me, so ind of l coin
already tering glob global m ;arket pl dural elud eludi clarity.
It s oka okay ;rt f concrete to e to ex of f of fo ;or feel for
for t

  nothing to buy, the desrt-fashion, gl , held up by blockchain
bitcoin alread ;that gives me ;r s
  keep moving my

fingers it's a form o The takes les are tw rgh... form neaver
dicism... ;spoken alou oncrete value ;d. T movi movin amon insi
, later, clash, transfor not not a mind ;... , that s the the in
ward of t
  mare outh, inwar ;re o hsap marvle . form of nomadicism... rds,
which might, later, clash, transf shapes a marv es. . form of
nomadicism... rds, which might, later, clash, transf

a: add a user
d: delete a user
k: kill all unconnected
q: quit

#2.

qI'm typing here, does it appear with you?
hello
hello
my name is Vetrix Morganthal
why am i here?
you're here because I brought you here
;and what per

urpose we we can c am t ;y o ;p ;e at the sa p me o t s i s m i
e, si bl mu y l ser ta v e e ously ? ininto the bodyof hte the
text - we need to continue in this fashion, there's n i o t ime
r ea;  f ;  o u r jave no idea amd i'm making too many typos beb
they' c re a n u o se t ty i p ' o m s not used to the but s i
sig s sign s k o i f nd ; of ;a bo k ;dy e at y w b ork pa rd!
keybo keyboard help help!! we can see if t i ;his ' m c ontin t
r y ing to ke ? ep up with some semblance of sanity seriou t
serious th n there' ;e ;s ;n ;s ;o ; ;th ;n ;in ;d ;g lie that
;g ;n lie i i ty

   a tha b hat u at t t he here, nothin i g t ' a s b a o ve v or
e ry b el st ow r an th g e e lines kind of ve - r tigo i'm
experiencin i g t he here.  j .  u .  st .  di ; vid ;w divides
;r ; ;i ;t ;t ;h ;i ;i ;n ;n ;g ;g ;s con b t e i t n we e u n s
ly ove r and among other ov over l e a t nd te ;a rs ;mong ;o a
t n h d e r f f or a m l s s o h f i w n r g it ing, f la o s t
h he i r n g plac es g , r o e ther green fa l s i hi ;g o ;h n
;t s ;s . ;...  it's as i'f ig a ign s igno r i e f the gr i ;e
' ;e m ;n , d i r g i ving nore the gre e a n nd the light is
gree ! n ;r ; ;r ; but it's as c causi ng ;m ;e o ;t i ;o ;n ;c
; ;r a sh sa y a ; nd

  ;a c ;n o ;y l ; l ;t i ;im d es, e t a h n e d c o l pposite

  o l n l or ud an e nt t ir NORANT anyway , NO , -RANT ;r ;r ;
i' c m co lo coll si u ng s ion a gr ;means i we p o n er the a
p s ur ;r ;r ; thepurpose, e ;i'm th l e o i si n n t g er

   med a i a s r e y nse of l where m li y in f ne in s e , r s
lights h ere , g ers sho w uld he r b e e y

   our f a i n n d g e w ;r ; ;r ; fingers h ; er ;a e ;r ;e t ;,
he ;w y ;here m s y h o ;r ;r ; shou m shoul i d nd go is, wher
;.  e ou ; r ey ;o es ;h are ;d ;ear o ur g o e d ye s pl .
ease .  .  just let me c ;r ; ;r ; alk m down ca and do cal wh
calm at = b rings c ;l p ;am leasure ;r ;r ; pleasure. ; ; ;of
course, ;St w ;r hich ;aig hte b n r t in he gs b a pl c easure
k as , foo d for some, clamp sink into s - pa p c in e g , f or
o v o e t r ;r ; ;r ; others com , e ; ;s t ;u he ;n ;k o ; ve
;i r ;nt e o a t t ing .  pa ce, b the a c m k o s n tr ;r ; ;r
; mons a monst i e g r htene ; d, l ;en o ;c sin ;r g ;o p
;aching ressure o h n e r m e y , ti ssue wo hat coul .  d .
po . ;r ; ;r ; poss ibly a ; nd ;e ;m w ;e h ;r at ;ge you ;?
are ;r ; ;r ; thinking doing? over there ;r ;r ;in your corner?
no w not ha t c a or re ne ;r yo ;b u ;ut a m b a o k ve i ng ro
/ f b e e e l l o i w g you ;r ;r ; n , ne neither v ;t e ;o the
ft or the o ri v g e h r t , th ere

   u in your b u p t e in r te c rmediar h y, ?  som ewhere in
the mid t s y t of ;r ;r ;th p thin i gs n , g ;s ;o ;r ; ;r ;f
;m fa ;at fas ;i fast ;c faster ;, un t d ;ha er ;n e ;i a ; ten
;ca . n ;r ; ;r ; , und t unde h r ink e in as g ;t fa ;e s ;n
ter ;.  than ;r ; ;r ; i can, wending y u ou un r und under w e
o a r t d ;e s ;n around my ;, clu ;r ;r ; clum ; clumsy
vehicular letters ;n , ;o ;word a s are ro u n d, m t s hr i ou
e gh r a t n h d a n o a t mong he s r t s t , he d m i , d I
tell you about the tunnel?  where ;r ; ;r ; i w s wh whe t where
he t p he lea ;v sur ;r ;r ; thepleasure ;e ; ;hicle ;w ;h cle w
;ere wa was the ? the pleasure c o u f t m he ve ber h s i o c m
le e ?  cu t c h u e m ti b ss e u r e s ?  ? ;r ; ;r ; where
the pickes les, where the jams? ;r ;r ;where the ta i ;rts i ;,
i sk w i he p r e o t ;v he ;er ; t ;f o ;o r ;o t ;d s and go ,
st a raight to o sl w sle h slee er eep e t , h

  e m a l usti f stion ea ion, s on, a n, this b n e c c e om , e
s a w h d er r e e am the wh ;r ;r ; where o ra I n ; ge ;a ;m h
;:  umme ;r ;r ; hummer ;r ; ;r ; dr s ;i st ;ve star ;n v ;b i
;y n g t ; h ;t e ;o ;death o ;r ; ;r ; ran a g an e fo ano o
anor d ec ?  ti ;c ;r ;r ;w w wi h wit y with o a u r t e ;
;reco y ;m o ;p u ;e s ;n t s o e ;r ;r ; no r no drik v n ing k
to ;i d ;n e ; a ;s th in a land of ;i do ;g ;r ; ;r ; ;h doll t
dollars ;r ; ;r ; ? why are you t m th in thou im sa a n l d i
;s n ; a ;of l ; a ;d n ;o d ;l o l f a e r x , ce s s s ? w h ,
y not hi a ng r

   e to y b o u u y tel , li th n e g d t e h s e tru r t t h -
;r ; ;r ; f in as in h in a i on na , ti ;on o g ;f l ; o ;l ba
i ars ?  l warming ;r ;r ;dollars = inedibility s o me t n g i s
e oc l ck uding me, so c me h a k i i n nd of l ogi b c i l t
coin already

   fl ateri ring o o n th r e g ;r ;r ; p glo r glob o al m cu
;arket pl ac e e ;r ;r ; dural ;r ;r ; elud c ludi cl udin
clarity. It g ;'s ; ; ;an ;o ;y ;k ; a ;so y ;rt , of concrete
i'm f get e tin a g l u u e sed ;r ; ;r ; t t to o to th to e is
x pa c n h i an c ;g k ;e y ;r ; ;r ; fe o e of l of i of f n o
g od , ; ;or t ;w he ;at ;er ;r ;r ; feel f i fo n for g t that
;r ;r ;gives me ;rea le ;s ;s ;o ; ;n ;o ;r t ;s o ;o ;ngs keep
moving my ;r ; ;r ; fingers it's .  a form o The takes ;f ;

  les are tw ;a ice rgh... form - told o f b n u om t a i neaver
dicism... ;r ;r ; ;r ; ;r ;spoken aloud. T m ;h mo e mov y movi
n ar g e amon t ;g o ;t l ;he d s e insi d w e o , r d i s n th
, e w m h o i u c t h h mi ' gh s t , later, clash, transfo i r
n m w ar t d he m ape s r el t v u e r s e , o , r

     i n nt ;r ; ;r ; o not th a e t al m ;l i ;r ;r ; mind ;...
mind, that s ;r ; ;r ; ;ee t ;s th the a in l war l ;a k ;p i ;e
n ;r ds ;t o ur f e of m t a h r e e mouth, ;r ;r ; i e inw l
inwa o r u d s

   a h ;p s ;e p ;r a ;t e ;u s ;re of t h e m ind , hsap ;r ; ;r
; es marvl e s shapes a nd n l i s ght !  mare ;r ; ;r ; s.  ;
?l

===

Someone else among reiterations.

http://www.alansondheim.org/london0241.jpg
http://www.alansondheim.org/changes2.mp4

Somewhere in here...:Somewhere in here...:something is is going
on, something else is occurring.:To rite oneself: to encapsul-
ate, contain, something about a boundary dividing x from non-x
but leaving out the striated dynamics, U I be destroyed.:What
might be better written becomes a mess as @ becomes $, a
signature of position becomes a value unsubstantiated but
universally agreed-on. I keep trying to write myself. keep
trying _thus._ I make lists. I keep trying to right the world.

(Sweeping) There's nothing in here at all. We were mistaken. The
codes are somewhere else. I keep wondering about the biology of
bells. The only speak when tilted. What kind of an organism is
that?

(Cleaning) I'm desperate for your voice. Am I on the rite track?
Is there something else? What would Kant say? Nagle? Irigaray?
Are you there? For me, are you there? Just a word would do.

I keep trying to write the world. I keep trying to write myself.
I keep trying to rite myself. I keep trying to right myself. The
small flaw of the right.:27524:4:this might have been better
written but old protocols die hard; the hardest lesson I've
learned is that refining myself is of no use to anyone. So much
for the brutal code of the somatic of the body. :To rite
oneself: to encapsulate, contain, something about a boundary
dividing x from non-x but leaving out the striated dynamics, U I
be destroyed.:Somewhere in here...

(Showering) There's a home with the sound of the bells ringing
our home to us. I don't want to live in a world without trees or
cacti. Look, there's someone else.


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http://www.alansondheim.org/london0241.jpg

over and over again.

1. found.
$ "I've had these moments" I've had these moments: not found
$ these moments these: not found
$ "these moments" these moments: not found
$ 2. 2.: not found

http://www.alansondheim.org/london0379.jpg
An old interview about LISTS and writing technique:
http://home.jps.net/~nada/sondheim.htm

Scalar value @noun[$non1] better written as $noun[$non1] at
a/parent line 45. Scalar value @adj[$pick] better written as
$adj[$pick] at a/parent line 62. Scalar value @adj[$pick] better
written as $adj[$pick] at a/parent line 65. Scalar value
@a[$gen1] better written as $a[$gen1] at a/parent line 73.
Scalar value @prep[$pre] better written as $prep[$pre] at
a/parent line 73. Scalar value @a[$gen] better written as
$a[$gen] at a/parent line 73. Scalar value @adj[$newpick] better
written as $adj[$newpick] at a/parent line 73. Scalar value
@noun[$non] better written as $noun[$non] at a/parent line 73.
Scalar value @a[10+$pre] better written as $a[10+$pre] at
a/parent line 93. Scalar value @a[15+$pre] better written as
$a[15+$pre] at a/parent line 94. Scalar value @a[$gen2] better
written as $a[$gen2] at a/parent line 107. Scalar value
@a[$gen3] better written as $a[$gen3] at a/parent line 107.

this might have been better written but old protocols die hard;
the hardest lesson I've learned is that refining myself is of no
use to anyone. So much for the brutal code of the somatic of the
body.

What might be better written becomes a mess as @ becomes $, a
signature of position becomes a value unsubstantiated but
universally agreed-on. I keep trying to write myself. I keep
trying to rite myself. I keep trying to wright myself. The small
flaw of the right.

To rite oneself: to encapsulate, contain, something about a
boundary dividing x from non-x but leaving out the striated
dynamics, I be destroyed.

Somewhere in here...
Somewhere in here...
something is is going on, something else is occurring.
Use of uninitialized value at a/parent line 68, <STDIN> chunk 6.

Some of that went into the LISTS. Some of that uselessly
continues. It might be better written as $. It might have been
better written as @. Honey, I'm FLYING BLIND here.

An old interview about LISTS and writing technique:
http://home.jps.net/~nada/sondheim.htm

Hold on right there! One second! Hi! What's your name?

Well, this might have been better written but old protocols die
hard; the hardest lesson I've learned is that refining myself is
of no use to anyone. So much for the brutal code of the somatic
of the body. , let's get started! Let's make a gender! That ok
with you?

Oh well, let's get going! Where is this taking us, in the
future?

What do you want to call this thing you're making?
Well, we're breathless.

Let Somewhere in here... be our primary descriptor!

Well, To rite oneself: to encapsulate, contain, something about
a boundary dividing x from non-x but leaving out the striated
dynamics, I be destroyed. already constructs splayed trouble
for us, subverting the categories we take for granted.

Beneath or within the surface, To rite oneself: to encapsulate,
contain, something about a boundary dividing x from non-x but
leaving out the striated dynamics, I be destroyed. is -5805,
poor, What might be better written becomes a mess as @ becomes
$, a signature of position becomes a value unsubstantiated but
universally agreed-on. I keep trying to write myself. I keep
trying to rite myself. I keep trying to right myself. The small
flaw of the right.? But what is Somewhere in here... here, its
being?

Do you feel your gender is close to To rite oneself: to
encapsulate, contain, something about a boundary dividing x from
non-x but leaving out the striated dynamics, I be destroyed.? In
any case, you must contact me about this...

Deconstruction marginalizes our To rite oneself: to encapsulate,
contain, something about a boundary dividing x from non-x but
leaving out the striated dynamics, I be destroyed. -5805 here!

I'm ill, in mourning, you're just working around nothing here.

Somewhere in here...:Somewhere in here...:something is is going
on, something else is occurring.:To rite oneself: to
encapsulate, contain, something about a boundary dividing x from
non-x but leaving out the striated dynamics, I be
destroyed.:What might be better written becomes a mess as @
becomes $, a signature of position becomes a value
unsubstantiated but universally agreed-on. I keep trying to
write myself. I keep trying to rite myself. I keep trying to
right myself. The small flaw of the right.:27524:4:this might
have been better written but old protocols die hard; the hardest
lesson I've learned is that refining myself is of no use to
anyone. So much for the brutal code of the somatic of the body.
:To rite oneself: to encapsulate, contain, something about a
boundary dividing x from non-x but leaving out the striated
dynamics, I be destroyed.:Somewhere in here...

http://home.jps.net/~nada/sondheim.htm the old interview again

LISTS, 1971

http://www.alansondheim.org/london0953.jpg
http://www.alansondheim.org/london1007.jpg

Commentary starred, i.e. *thus*

*I wrote LISTS when I was 28; it was either self-published, or
published through Nova Scotia College of Art and Design. I was
influenced, clearly, by Wittgenstein, and by the Tractatus
(TLP); what I took away from it, among other things, was that
differentiation was both structure and variable raster; the
world was not determinative, but fine- grained. I never read
TLP as hierarchical, or ladder-like, in spite of the last
section, although the indexing of the statements appeared to
imply otherwise. But - and this is the point of LISTS itself -
I did see the world in terms of _listing, lists_ - statements
which might or might not follow from each other, stemming from
a body, consciousness, and writing in a more or less particular
time and place. I still find this a somewhat radical idea, as
opposed to the orderliness, for example, of Badiou. The surface
and protocol depths of the Internet might form a (loose) model.
What follows, below, is the first page of LISTS, with commentary
situating it and my thinking in general, more than 45 years
later. I'm no wiser now than I was then. (But at least now I
recognize my ignorance.)*

*LISTS is about 25 single-spaced pages long.*

[Gen.] *section of general statements*

There is a certain consistency.

*The world is not a random, the world presents a "certain style"
related to fundamental appearances and sensations. Unlike a
virtual world, for example, mountains and landscapes do not
immediately appear and disappear - or if they do, one looks
towards asteroid collisions, earthquakes, etc., as explanation.
We count on the _style_ of the world in our fundamental
relationship to it. On the other hand, people in extremely
stressed situations, in states of anguish, terror, and so forth,
may misread everything, or "read" nothing at all. So underlying
the style is also the notion of normativity and consistency; in
the future, given prosthetic technologies, our deep reading of
the real and its attendant deep ecology, may become entirely
untethered of course.*

There is a certain style.

*See above. "Certain" is deliberately undefined; it's basically
undefinable. Think of the _ordinary_ in this regard.*

There are no surprises.

*Of course there are surprises; by "surprise" here, however, I
refer to those that might be considered fundamental. The concept
of bracketing might help; if for example, we wake up and find
polka-dots in the sky, we might bracket that as a phenomenon in
need of explanation (for example stationary drone fleets); the
surprise becomes subsumed, on one hand - and still exists as a
surprise ("Why, what on earth!") on the other.*

There is a general property of distinguishability:
i.e. boundaries.

*Distinguishability also characterizes Spencer Brown's Laws of
Form, and both the Sheffer stroke and its dual. Of course there
are morphisms, dynamics, striations, categories, catastrophes,
etc., but these are analytical processes. When amorphousness
does occur, for example in the appearance of slime molds, we are
thrown into untoward and abject states; what is both form and
formlessness, fundamentally disturbs us.*

I am immersed in the world.

*Immersivity becomes difficult to define in relation to AR, VR,
etc. Here the world is thought of in terms of an extended
habitus, in relation to one's placement. "The world" can easily
be problematized by dreams, hallucinations, etc.; at the same
time, the world's "style" provides a form of grounding, related
to Rosset's "idiotic real" and the notion of the _obdurate._*

I possess a body.

*My body is not possessed; there is no possessing; I am not
possessed. What is inextricably entangled is endlessly described
by phenomenology; here, I'm only referring to embodiment, in
spite of the paradoxical nature of phantom limbs, tinnitus,
etc. "Possession" is clearly incorrect; in fact, almost any
description founders in ordinary language.*

The body and my self present a past to me; I assume this past
has had some reality. [I assume this past has "had" no reality,]

*The presenting of the past, as well, is inextricably entangled.
I assume the past is real to some extent, in spite of the fact
that memory is always a construct (related to fallibility, etc.)
With this statement, the first of the accompanying bracketed
statements appears. These were written at the same time, 1971,
as the main text; they're modification that open other pathways
- since the statements of LISTS are _always_ problematic, always
meandering. First, then, LISTS doesn't assume a coherent
underlying structure governing the statements and their order
(in opposition to TLP); second, there's no assumption that any
statement is necessarily true; in many cases, the statements
obviously branch. Hence the bracketed statements.*

*Thus here the "reality" of the past wavers; what does it mean
for the past to be "real" in terms of the present where the
"real" is already in doubt, but surely present. The problem is
with our language, not with the world.*

There are Others (like myself). [I am unique.]

*There are Others - capitalized to imply alterity - who are
similar and dissimilar. But "[I am unique.]" goes further,
emphasizing a fundamental regime of separation; I find Sartre,
not Furtherfield, lurking in the background.*

Others likewise possess bodies.

*Likewise, in the sense of visibility, presence, verification.
"Others" also extends to any organism, defined in part by
ongoing processes, motility, negation. But it also extends to
anything defined as an entity, any entity, and here issues of
form and definition are foregrounded. Around this time I began
to consider the intersection of an object with its negation,
x^-x , in terms of negation-relative-to-x, so that definition
and insertion have a history and phenomenology tied to the
naming and potential "being" of x. This is an attempt to remove
a layer of abstraction in considering x, considering the
"likewise."*

Others likewise possess pasts. [Others are imminent.]

*By inference and introspection, Others possess pasts. But
Others are also imminent, presenced, and perhaps by inference
then, I am also imminent and presenced.*

There is a certain reality which is at least in part exterior to
myself. [My outlines are blurred: there is an ambiguous
threshold connected to my body.]

*Against solipsism. The ambiguous threshold is well-covered in
Dorion Sagan's writings, the mutualist convocation of microbial
and other communities constituting what I think of as myself,
ourselves. The threshold is fuzzy; even my death is ambiguous on
a microbial level. What is emphasized in the statement as well
is that we are immersed, con-vocated, Bell-theorized, in the
world, but almost the entirety is imperceptible, out of touch,
out of reach, to us.*

There are objects within this reality. [My body is, is not, an
object.]

*The status of the body, given interiority and fuzziness, is
problematic; what constitutes an object, including the body, is
problematic. Culture bounds, constructs; it's here that
decisions are made vis-a-vis objectivity, classes of objects,
and so on.*

Certain of these objects present a consciousness which may be
equatable with my own; these are Others. [Do I use this as
definition?]

*We assume consciousness and its presence, perhaps, even among
non-humans. I assume consciousness and culture "all the way
down." This brings up an important point for me, in relation to
LISTS: that the background to the writing is classical founda-
tions of mathematics, the statics of logic and set theory, for
example, even, I think, in intuitionism. So the background isn't
a _dynamics_ which is a different background altogether, and, I
think, far more accurate - one that isn't hierarchical, that is
related to category theory, morphisms and transformations,
foldings and unfoldings (and I think of the dynamics across
epigenetic surfaces and catastrophe theory). The dynamics is
more radical than Freudian/Lacanian processes (a child looks at
a mirror etc.); it may be fractal, stochastic, roiling,
untraceable. I try to come to terms with this and other
processes in my notion, stemming far from classical semiosis, of
semiotic splatter / splatter semiotics, in which reading- and
writing-times and their dislocations are fundamental to thinking
about our ongoing and current crises.*

Certain of these objects do not, or do so in part: this is the
rest of the world, the animate, inanimate.

*To reiterate above, I now think of consciousness and culture
all the day down. This draws to some extent from Heinz von
Foerster and the idea of negation, internal boundary-drawing, as
a fundamental cultural signifier.*

One may have a "reasonable certainty" concerning the future.

*i.e. that the sun will rise tomorrow, that catastrophic events
are reasonably few and far between. This is increasingly
changing as global resources shrink, climate change accelerates,
etc.*

There are no duplications of macroscopic events.

*This isn't to say that each event is unique, but even different
locations of otherwise similar events, for example, particle
physics experiments, create differences that may or may not be
important or reported.*

There is no extension of myself elsewhere - i.e. outside my
physical vicinity. [Extension in the sense of physical, or
normal, consciousness.]

*In relation to paranormal consciousness, where there may be the
possibility of extension - again, Bell's theorem.*

Most of the time what I am seeing exists in a form related to
what I am seeing - the world is not largely composed of "optical
illusions."

*And, again, arguing for the normative, ordinary, everyday, as
constitutive of the world; for example, as far as I know, if I
have no form of transportation but my body, and I have to go a
mile down a path, I'll walk. Another way of putting it: in spite
of S-F, there are no jump-cuts in the obdurate, or at least such
jump-cuts have an almost infinitesimal chance of occurring.*

There are various boundaries to the world, to my world. [By
"boundaries" I mean "levels."]

*"Levels" is a problem here; I'm referencing microscopic,
quantum, etc.*

My world is normally in direct correlation to the world.
[Dreams are not in direct correlation to the world. Dreams my
possess optical illusions as a constant operative within them.]

*By "direct" I don't mean one-to-one, only that, again as well,
the world and my being in it are correlated. I keep trying, in
1971, to express myself clearly on this point.*

I shall die; Others shall die. The world shall not cease upon my
death.

*The limits of my life are not the limits of the world. The
limits of my body are problematic. I extrapolate that Others
shall die.*

We can differentiate between the world and "my" world.

*This is full of entangled difficulties; it implies that
everyday life in the world recognizes the difference between
imminence and immanence, even given one's beliefs. One might set
a goal to recognize such distinctions, but there's no indication
that 1. this is a goal one would desire; and 2. this is a goal
that one might achieve. It also founders on the meaning of
"differentiate" of course. I knew the issue back than, as the
quotation marks around "my" indicate.*

The world is somewhat characterized by change, and by stochastic
processes.

*Nonsense; all I am saying is that the world changes through
time; there's no definition given for "stochastic" as well. At
this point, I'm not sure what I was thinking.*

The world of mathematics exists in-itself, although it does not
occupy material space. [The world of mathematics is a
convention.] [The world of mathematics is a formal scheme.] [An
expediency.] [An ideal realm.]

*I've always read philosophy of math; some of the recent writing
is difficult for me. But I do have a somewhat platonist or
Godelian neo-platonist view of the field, that it's more than a
convention, expediency, or formal scheme. I'm not sure what
would constitute ideality, but my thinking tends in that
direction - as well as the inextricable entanglement (those
words again) between mathematics/mathesis and physics in the
greatest possible sense, involving cosmology and particle
physics, and so forth.*

Objects which occupy material space (likewise) occupy a
particularization of space and time.

*Not exactly true of course, given multiverses, particles, etc.
On the other hand, if the objects are "ordinary" life-world
objects, the statement is roughly true.*

My vision is not likely to extend to microscopic phenomena
without the aid of intermediaries.

*I was working shortly after with scanning electron microscopes
and already had done considerable light-microscope work. And of
course one can argue that the eye itself is an intermediary,
interstitial, that there is no perception without perceptual
processing.*

There is a limit to my knowledge.

*Of course this is clear; the mind itself can only process so
much. There is always a dynamics of clearing and reconstitution
involved in perception and memory. But the limits to my
knowledge are not the limits to the world, nor to "my" world.*

There is a limit to the possibilities of my knowledge.

*There are absolutely unknowable regions of the universe and
multiverses; limits everywhere. Even particle physics may not,
ultimately, have a "complete" theory.*

The sun shall rise tomorrow.

*This is the heart of LISTS at this point. It is more than
chance that the sun shall rise; its rising is ordinary, in an
ordinary way (whether or not obscured by clouds etc.). We move
and live and work within this structure. Debilities, anguish,
and other issues, however, may result in one's taking nothing
for granted, not even imminence. There is always an issue of
health and well-being in philosophical discourse which is rarely
discussed or admitted (I'm thinking of Levinas' account of
insomnia for example.) The sun shall rise tomorrow is part and
parcel of a _dynamics_ of the obdurate, the idiotic real, etc.

I am bounded by my light cones.

*We all are, and our light cones are always slightly out of
sync/kilter. Is sync to kilter as space is to time?*

I am "largely in contact with the surface of the earth."

*By "surface," I mean the sea, the atmosphere, and so forth.
This is a statement of habitus, related to Arne Naess's writing,
for example "An Example of a Place: Tvergastein." It is as if
LISTS were an attempt at securing a home or place to be, a safe
space, a space of living and perhaps writing. The place appears
to expand or contract in the writing; there's an underlying
unease to all of it.*

All other human beings in the sense of the term employed here
are largely in contact with the surface of the earth.

*An extension of the previous statement, not connected by logic,
but again by loose belief. The title LISTS reflects this, a
rough compendium of related and somewhat "lonely" statements,
which, however, in the later pages, are extended to issues of
community and education.*

*end of page 1*

3 sarangi songs with fading jetlag and theory soup distillation

http://www.alansondheim.org/london0883.jpg
http://www.alansondheim.org/gita1.mp3 sarangi
http://www.alansondheim.org/gita2.mp3 sarangi
http://www.alansondheim.org/gita3.mp3 sarangi
http://www.alansondheim.org/london0916.jpg

theory soup distillation - "lineages play, hopefully, take it."

On art and art-making: I do or not make pictures. Art-making as
continuous process of thinking improvisation; art-making
project- statement- oriented; plateaus interventions; digital
progress; analog microterritor- ialities; flow. I'm sure am an
artist in any traditional sense, for many people, at all. What
is the reason this? have no projects, documentation stages that
stand on their own as, example, plateaus; outcomes other than
experience body production it already ongoing, much same manner
musical improvisation ongoing. So a situation lived experience,
something else, confinement art-induced structure grants
autonomy totality to work conceived produced certain point. That
certain. If might actually be investigation, say one articulates
relation appearance (totalized partial) structures, then there's
possibility investigation occurs among dynamics - knowledge per
se, but knowing, knowing which possesses somatic component, may
be, politicized, order itself political, all that, accumulation-
body, encompassing its variegated chemistries components. think
this deep ecology body. there relations structure, issue
presentation, if, along scientific trajectory, are findings
enframed form comprehension transmission. The enframing buckled
languaging, within without materials formed formulated
presupposes abject, neither way nor example. (Even example
explaining abject sense.) It always mixture modes, modalities,
my case, system designed enter marketplace sold such; fact,
generally give away after show, homage organizer, friend,
someone who companion way. continue move on. Hence, artist; so
points I've been told what doing art, by meant, making since
resides forms figures emerge period contemplation. Contemplation
moving, movement need never coagulate into ossified statement
date, indication series progression, profession progression. One
that. In case well between kind meditation, result problematic,
problem well. Art different stipulation answer institutional
call. It's "better" "worse" "life-choice"; it's being tied
ecology, data, internalization flows dynamics. would end door
gallery (or begin there), viewed portal. practical level see
potential access further tools, extent tools necessary
limitations. intervention social, habitus, real, also part these
gate barrier, wave, convocation, con-vocalization. sense stands,
against digital, problematic protocols institutional, economic,
geopolitical connections, harm promise they carry, towards
others, them. protocol plateau; "updated" replaced; even with
legacy applications, replacement, disappears. capital drives it,
whether bank bitcoin. lives destinations; carries lost history
design, fabrication, dissemination. natural, stepwise. mean
imply either contemplative subjectivity position privilege, akin
beginning ending, least untoward contrary phenomenology, dance
if body, senescence submission, were continuing grace grace-
lessness world. opening closing, world galleries institutions,
fit fitness, genre, canon; thereby excluded from participation
formalizations culture conversations, communities, appear ensue
Community prior, course; sentience community everywhere Again,
can only call removal barriers, open sight, withdrawal before
judgment itself. we gave our away, necessarily trade
compensation, freely? happen then? And sort institutions support
rarely know where becomes work, ever does, begins ends, located,
offer terms collapse formal denuding structures. As increasingly
allied high capital, machines lowest misery production, rethink
practices, consider praxis most sense. Who when produces
something? series? variations? depths emerge? dynamics? = want
thank aharon below, Ruth, also, wrote me, asking about humans,
course, network media; question audience whom beyond
navel-gazing? aharon, nothing perhaps. relates hand music,
exists moment recorded after-effect, hand; internal other.
described me; midst others (for working Eyebeam NY), interior,
through interior consciousness. Part sport music place
consciousness hold, live abide audible physical, theater Things
within; elsewhere, without, become seriation network. But too
often created seriation, product; often, perhaps (and matter
taste), they're data mapping phenomenon onto another,
stock-market clouds lights smoke. more concerned within, emerges
like sport, has uneasy relationship object? thing Michael's
aharon's rides/maps beautifully emphasize present others.
imminent presented. Lived time this. reading Angela Nagle's Kill
All Normies, Online Culture Wars 4Chan Tumblr Trump Alt-Right,
here course art/lit such all, based fundamentally network,
exteriority she writes, "Do those involved memes longer
motivated them themselves ironic not? Is possible both parodists
earnest actors media time?" (p. 7) respond (yes, connoisseur-
ship) inversion exteriority, drawn out goal itself, questioning
first place, problematizing. impression interested reception,
didn't to, just reception Think novelist example; s/he immersed
diegesis writing; aside reader, diegesis, etc. Mikel Dufrenne
This than, political writing goal-oriented, two intermix.
Everything obviously contradicted. novel networking, very
course. Austen writes networks. artists immediately engaged,
Barbara Kruger Kara Walker; interiority; every knows modes
presentation. hear solo Ras Moshe, played with, going
productions gallery. They're productive, inhabitations, habitus.
tends, canon/genre/etc. restricts opens up. Ruth asking, create,
how received; critical comes post-production limited extent;
influence cinema (Agnes Varda, Godard, Antonioni, Leslie
Thornton) taught) cinematically. don't somatic, somatic-
political (terror, displacement, anguish, lines flight), feel
failed, up riding another surface... Aharon brings sharing,
shared entering creation sharing communality, important;
personal level, creates despair us, Providence, communities
aren't welcoming, tight-knit, creative we've (3 1/2 yrs)
leaving. least, dependent network; lifeblood, lot early (dealing
traceroute grid etc.) was it; imagined, still do, enormous skein
resonances basic planet. At time, book seen usually
body-at-a-distance, deflection works war-zones, physical
virtual; ways resist... heavily jetlagged still, thoughts
twisting turning around wanted write back now while less awake
hope far off mark. thanks much, your responses. email "
resonates saying, think, process, contemplation interiority
create healing communal, me..." Writing jetlag brain-fog
characteristics; murk, stumbling; wonder related near-death say,
communication broken down, hears onself, circulation oneself.
tinnitus, hard fullness voice other, proceeds classical _from_ ;
proceed _proceeds._ play means things cultures, superstructural
considerations important. A child plays creates, tests
boundaries, repeats, experiments; conceptual Conceptual gives me
great joy general words, (look Dubuffet extent), surplus meaning
Bourdieu's Distinction, deals cultural capitals; use me.
lineages play, hopefully, take it.

labor, remnants

http://www.alansondheim.org/london0448.jpg greece
http://www.alansondheim.org/changes.mp4 ringing changes
http://www.alansondheim.org/thus.png the thus / articulate
http://www.alansondheim.org/chemjunk.png chemical drive

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