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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detournement

http://www.alansondheim.org/cz.png
http://www.alansondheim.org/cz0.mp3
http://www.alansondheim.org/cz1.mp3

alpine zither, live improvisation

A detournement (French: [detunm]), meaning "rerouting,
hijacking" in French, is a technique developed in the 1950s by
the Letterist International, and later adapted by the
Situationist International (SI), that was defined in the SI's
inaugural 1958 journal as "[t]he integration of present or past
artistic ...

- wikipedia

famine and death studies

http://www.alansondheim.org/famine1.png
http://www.alansondheim.org/famine2.png
http://www.alansondheim.org/famine3.png

$ ./number 6000000 six million. $ ./number
45000000 forty-five million. $ ./number
3000000 three million. $ ./number 4800 four
thousand. eight hundred. $ ./number 20000000
twenty million. $ ./bcd 20000000

________________________________________________
/20000000 | | | | | | ]]]]]]] |
|111111111111111111111111111111111111111111111111|
|]22222222222222222222222222222222222222222222222|
|333333333333333333333333333333333333333333333333|
|444444444444444444444444444444444444444444444444|
|555555555555555555555555555555555555555555555555|
|666666666666666666666666666666666666666666666666|
|777777777777777777777777777777777777777777777777|
|888888888888888888888888888888888888888888888888|
|999999999999999999999999999999999999999999999999|
|________________________________________________|

LIMIT cd from Public Eyesore, more information -

http://www.publiceyesore.com/catalog.php?pg=3&pit=138

Below is an expanded description of the work -

"For a new music"

"Time Reversal and Anticipation in Music"

Using reverse reverberation, it's possible to create a
simulacrum of time reversal, the spatial environment itself
producing the sound, which always follows, always ensues.
In other words, spatiality, temporality, produce the sound
which is emblematic, responsive, to the exigencies of the
aural resonance, and likewise, the human body, the body of
the musician, is an emergent property of the whole. Space
is a dwelling in eternity, and speech has already been
spoken in a form of future anterior. Behind us, we find
ourselves in the future, and before us, the anticipation
of a creation yet to come.

(See Derrida, No Apocalypse, Not Now, (full speed ahead,
seven missiles, seven missives), Diacritics 14/2, 1984"

And some fragments on reverse reverberation and inverting
amplitudes -

inverting amplitudes foregrounds body and operational instrument
sounds; these are pieces which treat bodywork as fundamental to
music, the body presencing; the usual focus of an instrument,
proper sounds, almost a shell or manifold across flesh and
breath. i haven't made work like this before, interior and
exterior exchanged in an incredible sonic mapping tending
towards possibilities (at least for me) of new modes of sound
and musical philosophy.

everything is experience and body; the transformations appear
elementary, but create dwellings in alternative worlds that
resonate with what we always already know;

theories of unthemed dwellings, nomadic commons coming together
and falling apart, falling apart and coming together, defeat of
the punctum-turret, alignments of universal skies

'Since I must save the day of tomorrow, since I must have a form
because I don't feel strong enough to stay disorganized, since I
inevitably must slice off the infinite monstrous meat and cut it
into pieces the size of my mouth and the size of the vision of
my eyes, since I'll inevitably succumb to the need for form that
comes from my terror of remaining undelimited - then may I at
least have the courage to let this shape form by itself like a
scab that hardens by itself, like the fiery nebula that cools
into earth. And may I have the courage to resist the temptation
to invent a form.' (Clarice Lispector, The Passion According to
G.H., trans. Idra Novey, Penguin, 2012, p. 7)

nothing is comfortable when the transitional turns you on

The grain of the voice, grain of the almost-black, grain of the
seething world. Among the last dark and first black, the
granular. The grit of the primal scene, grit of the floor, of
the bed, of the stairwell, grit of the river dock, of the great
outdoor projection screen, of the hallway. Grain and grit as the
world turns black, as achitecture shifts, architectron. As the
visibility of great expulsions. As great visibility.

most innovative playing by the master of fifth.fourth.fifth

the music/sound of anticipation and hope, among a dying friend,
stabilized companion cat, panic attacks and depressions, and
yet, the hope of the salvation of sound, so this piece is one of
tuning up, getting ready for a performance or a recording, but
the anticipation, the hope, of course become the performance
itself, just as hope gathers hope and anticipation of hope
becomes, appears, at the very beginning of hope, hope itself,
and then, more-so, becomes comfort, enlightenment, advance

we live always in such advance of death, decay, slaughter,
illness, but we also live in-spite-of, the circulation of
culture and culture's prohibitions and transgression, such makes
us somehow more human, more among communality, more gladness
"

http://www.publiceyesore.com/catalog.php?pg=3&pit=138

And here are the liner notes:

"
LIMIT
PE138

Luke Damrosch: programming, engineering, madal
Azure Carter: songs, vocals
Alan Sondheim: mastering, concept, viola, guqin, flute,
clarinet, alto clarinet, long-necked saz, dan moi, ghichak,
ukulele, guzheng, holeless shakuhachi, hegelung, sanshin, rebab

Reverse reverberation in real time is an impossibility;  the
physics of space-time doesn't permit it.  That said, Luke
Damrosch has developed programs that approach the impossible;
the result is a new form of music dynamics. The general idea is
that you can reverse shorter and shorter segments 'almost' as if
they were reversed in real time, but you're really dealing with
fundamental limits of spacetime; only on a quantum level is
reversibility possible (for example a positron as an electron
moving temporally backwards in Feynmann diagrams -
retrocausality in Wikipedia), and that's up for grabs. In any
case, I've been interested in processes that operate at the edge
of this sort of dynamics, where physics, acoustics, and
philosophy meet. And here is a resulting cd, using acoustic
instruments, where this is a guiding principle.

A second example involves the use of dynamics processing (I'm
using Adobe Audition), in which the louder something is, the
quieter the output - reversing the usual dynamics. I've been
doing this in post-processing, but with voltage-controlled
amplifiers, it's easy to do as analog in real time. The result
is fascinating - if I'm playing shakuhachi or guqin for example,
the sounds of breathing, of the body, of string slip, etc., come
to the foreground and the traditional musical 'content' recedes.
The body becomes a fundamental source of sound, almost as if it
were playing itself.

Again there are a lot of contradictions here; since a slow
sinewave, for example, varies in amplitude, it might disappear
or become increasingly dominant itself, depending on the
settings (frequency ranges employed) for the dynamics
processing.

I'm also working with pitch reversal, so that, for example, a
frequency F is transformed into 1/F; the basis of F can be set
so that the range as a whole is inverted. You can see how this
is almost the same as dynamics processing; the two are deeply
related. (This hasn't been implemented yet.)

All of this connects to my interest in philosophy and the
foundations of mathematics. Most acoustic transformations are
'surface' transformation, as if the physical acoustic
environment were itself changing (larger or smaller room, etc.),
or as if parameters were changing holistically (raising or
lowering pitch, etc.). There are exceptions, but this is done,
for the most part, in terms of musical or other aesthetics. I'm
interested in something fundamental in a different way.
Traditional foundations of mathematics begins with such things
as logic, set theory, etc. - as you know, anomalies appear all
over the place (Godel's theorem is the most obvious example).
But the tendency now is to look at dynamics based on things like
category theory - in which there are objects and arrows, or
objects and morphisms and rules and structures emerging from
these. Arrows are also objects, objects can be morphisms, etc.
etc. I understand very little of this, but it's really relevant
to the kinds of global transforms that revrev or inversions
represent; I tend to think of dynamics applied through acoustic
spaces for example - at least that's where I'd like to go....
"

http://www.publiceyesore.com/catalog.php?pg=3&pit=138

Burnout

http://www.alansondheim.org/burnout3.png
http://www.alansondheim.org/burnout.mp4

I keep forgetting what I need to do or who's running this
country. I keep falling down when I take anti-anxiety medication
to keep running this country. I crawl across the floor trying to
remember places I've lived. I keep living remembering floors
everywhere, that even in a plane I don't escape them. I keep my
weeping to myself and my partner, taking no solace in a lone
fruit perhaps dying in a refrigerator or on a counter. I am that
counter and that fruit. I keep remember adjectives of hatred I
apply to myself and chant accordingly. I keep forgetting chants
and take solace in hatred. I keep waiting for the knock on the
door and the heavy-set man in armor behind that knock with his
fist behind that knock. I keep remembering that fist. I keep
remember being kicked with intent to kill in Brooklyn at the end
of my block. I keep remembering the corrupt cops who said if I
pressed charges it would go on my record not the perpetrator's.
I keep forgetting to remember and keep remembering to forget. I
crawl across the street at the end of my block and attempt to
stand. I stand in our apartment and wonder why I am standing. I
wonder where the end of the street is. I wonder why I am dying
on a street in a strange city. I wonder what a street is. I keep
looking at the floor and my legs look at me. I keep wondering
why my eyes are not my eyes. I crawl across screens with things
that move on them. I keep wondering what my eyes see.

http://www.alansondheim.org/burnout2.png
http://www.alansondheim.org/burnout1.png

NEW CD, LIMIT, & Azure's new song with viola & a great review
of LIMIT by Jeremy C. Justus!

http://www.publiceyesore.com/catalog.php?pg=3&pit=138
http://www.alansondheim.org/newstory.jpg
http://www.alansondheim.org/newstory.mp3

Her singing reminds me of ululation, the viola thins
and expands, difficult singing and difficult playing,
something raw and polished.

Review of LIMIT by Jeremy C. Justus:

"The thing sweeps in with a cacophony of horns, Azure's echoing
haunt, frenetic strings.

These, the first three of Limits seventeen songs.

Im talking about Alan and Azures new album.

Ive been saying to Marissa lately that Im tired of guitar-driven
Western music made by straight white guys. Alan is a straight
white guy.

Alan is also a guy who said to me this summer, when I was going
on and on about metal in Scandinavia, metal in Southeast Asia,
metal in Africa, he said, I have really no interest in Western
music.

Metal in Asia is subversive because its a Western art form. Not
because its primal or aggressive or satanic or whatever. Same
everywhere else.

I havent given up on metal. But like a bloodletting, Alans words
opened a space for me to open into.

Alan and Azures music is a lightning bolt to my brain. Its
shocking. Its demanding. It is a conduit. A passageway.

Later in the album, words echo before theyre spoken, sounds
before theyre played. RevReb. Reverse Reverb. Imagine convulsing
your way into a word a moment before it is spoken.

Ineffable. I dont know if youre ready for it. I never am.

Whos ever ready to meet their limits, to know what bounds in
which they live, to know how tight they are, to not so much move
against restraint but find explore depths and directions and
dimension inside of and beyond environs?

Look, theres no smart way to talk about Alans work. Anything you
can say about it, hes said already, in the music. But you should
listen to it."

Our new cd LIMIT can be ordered -
http://www.publiceyesore.com/catalog.php?pg=3&pit=138
and here's a sheet - http://www.alansondheim.org/LIMIT.pdf

We'd greatly appreciate your patronage; LIMIT involves reverse
reverberation and inverse dynamics, and is, at least for us, a
new music. Please support us!

http://www.publiceyesore.com/catalog.php?pg=3&pit=138

Meanwhile, enjoy Azure's new song, which is raw, only
reverberation added; this is more or less a final
version, on the way elsewhere -

Nowhere Films in the Scheme of Things

http://www.alansondheim.org/canyonfilm1.jpg
http://www.alansondheim.org/nowhere.mp3
http://www.alansondheim.org/canyonfilm2.jpg
http://www.alansondheim.org/canyonfilm3.jpg
http://www.alansondheim.org/canyonfilm4.jpg
http://www.alansondheim.org/canyonfilm5.jpg
http://www.alansondheim.org/canyonfilm6.jpg
http://www.alansondheim.org/canyonfilm7.jpg

From the Canyon Cinema catalog, 1992: almost my entire filmwork
to that date. The films ended up at Filmmakers Coop in NY, where
they sit and rot. So the catalog represents better days of
course; the descriptions give you an idea of what's there. One
of them at least was shown at MOMA years ago; the others - I
have no idea. They're safe but I worry that the splices might
have given out, and the mag-stripe soundtracks on some of them
might have flaked or printed-through; there's also the issue of
warping. So they're becoming unknown artifacts. At one point
they were shown, most often at Millennium in NYC; they were
shown elsewhere of course, when I was actively promoting them;
however I never made the canon. The earliest is from 1969-72.
They're going fast I think.

canyonfilm1.jpg 	2007-04-22 20:57 	572K
canyonfilm2.jpg 	2007-04-22 20:57 	775K
canyonfilm3.jpg 	2007-04-22 20:57 	597K
canyonfilm4.jpg 	2007-04-22 20:58 	729K
canyonfilm5.jpg 	2007-04-22 20:58 	688K
canyonfilm6.jpg 	2007-04-22 20:58 	694K
canyonfilm7.jpg 	2007-04-22 20:58 	284K

Sacred

http://www.alansondheim.org/north14b.jpg
http://www.alansondheim.org/sacre.mp3

state massacre radio; crying. first, reliving event, happened;
second, kindness^^^^^^^^^^^^^^^^ don't massacre my mind
^^^^^^^^^^^^^^^^ don't don't massacre my mind. team to win, but
if it's a massacre all the time, the 'sport' beau liquidation
lumber lynch mangle manslaughter mar massacre projections and
introjections involved, the massacre of identities fidel castro
[khmer rouge zion tibet sung chernobyl beijing massacre] a for
life, life, tooth tooth a massacre slaughter they remain remain
an sleep at night, instead replaying the rhetoric of massacre
and slaughter i massacre of the innocents abc nbc cbs say wait
and see who knows if it's a massacre or not win, but if it's a
massacre all the time, the 'sport' disappears. cedarskindness
^^^^^^^^^^^^^^^^ don't massacre my mind^^^^^^^^^^^^^^^^ kill
modern guide synonyms related life, tooth massacre remain
synonyms related tooth massacre remainnorthern bush meat trade
ie tammuz available massacre norn light tongueless note word
these texts

State massacre radio; crying. first, reliving event, happened;
second

DIE/SECT: SHAPE US: FaceCook

http://www.alansondheim.org/diesect2.png
http://www.alansondheim.org/diesect.mp4
http://www.alansondheim.org/diesect1.png

of organs intersecting, anonymous eyes prying us apart, they
dismember us, everything. in my dream i imagine myself inside-
out, displayed, dissected, grit material planes which intersect,
complexly, immaterial, and in fact ... the grit of it, the
_splay_ of the left.

<#>
*11 event invites*

<#> / _birthday / <#> Trending *
<#> * <#> * <#> * <#> * <#> *
//Create a Post/<#> /
/Photo/Video Album Choose a file to upload
What's on your mind?
Feeling	/Remove/

/Feeling/Activity <#> / /Check in <#> / /Tag Friends <#>
<#> /Post/ <#> /Write a comment.../
<#> <#> <#> Feeling/Activity /

/* blessed * excited * happy * sad * thankful * amused * annoyed
* loved * tired * angry * emotional * pissed off * heartbroken *
sleepy * proud * positive * sick * determined * concerned *
silly * accomplished * frustrated * grateful * pained * relaxed
* in love * drained * fabulous * confused * exhausted * worried
* entertained * cold * motivated * bummed * fantastic *
disappointed * crazy * hopeful * anxious * joyful * bored *
hungry * nostalgic * shocked * broken * optimistic * stressed *
depressed * curious * peaceful * pumped * aggravated * disgusted
* irritated * meh * overwhelmed * inspired * fed up * blah *
relieved * ready * impatient * thoughtful * perplexed * awesome
* cool * lucky * down * nervous * sarcastic * sore * lonely *
scared * lost * funny * lovely * content * chill * awake *
incomplete * delighted * restless * upset * pissed * satisfied *
confident * old * empty * amazed * special * full * ecstatic *
beautiful * ill * super * festive * missing * strong * refreshed
* energized * good * surprised * lazy * amazing * naughty *
wonderful * hopeless * great * alone * blissful * hurt * hot *
fresh * drunk * perfect * sorry * pretty * hyper * cute

/////

What's on your mind?
Feeling	/Remove/

guqin; horde; regime change; lu change;

http://www.alansondheim.org/maine172.jpg
http://www.alansondheim.org/horde0.mp3
http://www.alansondheim.org/horde1.mp3

(earphones best, single take, no efx)

two guqin tuned off; each other;
passing of an emperor; entrance of another;
dynasties exhausted; running their narrow course;
natural lu; compliance with the way;
together playing; passing and entering;
moment of bridged sounds; dissonance;
harmony; in doubled dissonance;
manifest hinge; mainfest world; passes;
manifest heights; slopes; ridges;
here is here; among them; the others;
elsewhere; beyond; within;
hinged; among dissonance;
dissonant worlds;
world; other;
maintenance; ancestor and descendent;
food struggle; sleep;
keeping cold; heat; at bay;
keeping apart from one's enemies;
keeping; among us;
hinge of lu; slope of lu and lu;
ridge and height; lu and lu
pass-passage; depths; lu and lu;
change; abandonment;
moment; discourse and gathering;
beneath; beyond; cold colder mountain;
mountains passes; valleys;
beneath; lu beneath; mountains; passes;
passing; valleys passing; lu;
lu passing; lu and lu;

Breaking of Speech in Gritworld

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

"meditation is to enter without a place to enter; wisdom is to
depend on nothing" - Hui-neng, from the inscription by Wang Wei,
in The Platform Sutra of the Sixth Patriarch, the text of the
Tun-Huang manuscript, edited/translated by Philip Yampolsky.

Ah... speak... speak...
Travis, what do they call you, when they call you...
Travis-TraviS depressed, silence and debris, the gritworld,
induction

Are you dressed as silence and debris, the gritworld, induction?
Is silence and debris, the gritworld, induction dressed as you?

Are you in your flower, are you in your flesh, ah don't answer...

Ah gritworld tears my flesh, lacerations, no cicatrix, raw
felsh, wounds, broken bones, what have o you

I love your feelings, silence and debris, the gritworld,
induction ...

your penis turns me beneath or within your jumper!

What do you call your taut flower? my pein penis my pines my
spine my spinnet my flower-web, my grasp of induction and
inference, mo my motives for becoming, my becoming. there is no
light no sound in gritworld. there are rough planes,
intersecting, n to n + 1.

silence and debris, the gritworld, induction, my pein penis my
pines my spine my spinnet my flower-web, my grasp of induction
and inference, mo my motives for becoming, my becoming. there is
no light no sound in gritworld. there are rough planes,
intersecting, n to n + 1. turns my stick into body body parts:
head;
face;
monster;
scalp;
monster head;
face monster;
monster scalp scalp monster;
My monster scalp scalp monster is yours...

my pein penis my pines my spine my spinnet my flower-web, my
grasp of induction and inference, mo my motives for becoming, my
becoming. there is no light no sound in gritworld. there are
rough planes, intersecting, n to n + 1. calls forth dirty love,
eating, excreting memory. beneath or within the cotton, my pein
penis my pines my spine my spinnet my flower-web, my grasp of
induction and inference, mo my motives for becoming, my
becoming. there is no light no sound in gritworld. there are
rough planes, intersecting, n to n + 1. is , cotton, gritworld
tears my flesh, lacerations, no cicatrix, raw felsh, wounds,
broken bones, what have o you? ... love is monster scalp scalp
monster here, it's love?

Are you becoming close to Travis' my pein penis my pines my
spine my spinnet my flower-web, my grasp of induction and
inference, mo my motives for becoming, my becoming. there is no
light no sound in gritworld. there are rough planes,
intersecting, n to n + 1.? i devour myself in an inductive
fast-forward future, my fast forward fast and forward future
swallows me there are swallows in the sky i hear them i hear the
swallows n to n + 1 ; n + 1 to n +2; i am in trance, betranced,
bedraggled, i drag my stick behind my behind me, it tears on the
gritworld monster it tears on the scalp I think my pein penis my
pines my spine my spinnet my flower-web, my grasp of induction
and inference, mo my motives for becoming, my becoming. there is
no light no sound in gritworld. there are rough planes,
intersecting, n to n + 1. 5920 is your scar, your wound, your
brand.

Zero time it has been:, I have been nervous Travis-TraviS
depressed ... and it has taken you just 5.000 minutes turning
Travis-TraviS depressed;

my pein penis my pines my spine my spinnet my flower-web, my
grasp of induction and inference, mo my motives for becoming, my
becoming. there is no light no sound in gritworld. there are
rough planes, intersecting, n to n + 1.:gritworld tears my
flesh, lacerations, no cicatrix, raw felsh, wounds, broken
bones, what have o you:silence and debris, the gritworld,
induction:: Your dirty monster scalp scalp monster is in my
cotton monster scalp scalp monster Your your penis seeps into my
monster scalp scalp monster - turning me Travis-TraviS o poor
Travis-TraviS depressed;

my pein penis my pines my spine my spinnet my flower-web, my
grasp of induction and inference, mo my motives for becoming, my
becoming. there is no light no sound in gritworld. there are
rough planes, intersecting, n to n + 1.:gritworld tears my
flesh, lacerations, no cicatrix, raw felsh, wounds, broken
bones, what have o you:silence and debris, the gritworld,
induction:: Your dirty monster scalp scalp monster is in my
cotton monster scalp scalp monster Your your penis seeps into
my monster scalp scalp monster - turning me Travis-TraviS
depressed;

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