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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endure fungus in valley tree in storm * semiotic splatter in mail

these things fall like thud against suicidal despair.
one must endure. the holocaust begin.
getting tired of analysis splatter grind.
trump joke too useless easy. we mitigate nothing but ourself..
fungus endure. tree is there.
musical spam endure as musical spam.
x(x) or some such. one cannot remember logic.
one cannot remember plurals, plurality.
one must not remember.


*mediocre video but so is endurance.

the analog synthesizer real

recorded at neil fried's studio, atlanta, with neil on vintage
arp analog synthesizer neil fried and a.s. azure's borrowers song flute, shakuhachi ukulele flute, viola, arp solo azure carter neil fried and azure carter out the window

we used voltage-controlled filter modules for the most part

from T.W. Rhys David's Dialogues of the Buddha, Kevaddha Sutta;
Kevaddha asks: "Where, my friends, to the four great elements --
earth, water, fire, and wind -- cease, leaving no trace behind?"

one asks of ceasing and ceaselessness, of the inexhaustible; one
asks this of grit, of the obdurate grain of the real. analog
filters air airs, breathe in quality of sound and silence --
rubble _murmurs_ rubble and ceaseless sound -- we repurpose,
repropose, on the fly -- during the very imminence of the sound
-- during its placement -- rubble _machines_ -- as if there were
creation and wind -- as if there were earth (there was) -- as if
there were fire (there was) -- as if there were water (yes,
there was, and high winds and storms and fury) -- beckonings --
the analog's repeated attempt to assert itself as _production_
-- as _machine_ -- repetition, logical construct, catastrophe,
re/production, annihilation --

"'The intellect of Arahatship, the invisible, the endless,
accessible from every side --
'There is it that earth, water, fire, and wind,
And long and short, and fine and coarse,
Pure and impure, no footing find.
There is it that both name and form
Die out, leaving no trace behind.
When intellection ceases they all also cease.'"

v: when intellection seizes, they all also seize.
i: in this instance nothing. longer, indefinite.
i: in this, every move equal to every other. to each,
the move. to the move, ceasing. to cease, to listen.
v: i will not listen. i tweet I.
i. i will listen. i listen.


Thanks to Neil Fried, Azure Carter for this amazing session.

more from stone mountain

undoes trump.

billed as the largest rock this

it's not easy. nothing disappears. the granite cicatrix
remains. granite sits on granite. granite pressed in
granite; granite presses. on the surface: shapes.
plato-cave inversion.

robert lee. jefferson davis. stonewall jackson.
stone mountain home of kkk. do not blame the mountain;
not granite; blame them. here I make this disappear.

billed it does not. it remains. it presses granite.

but then this: jump. something else. so many people
on and off the mountain. so many nations. so much has
been done; here. nothing done trump's undoing.

trump's undoing: so much beauty here still. he will
undo it. he is _violation fabric._

he _undoes._

nothing is easy.

Blaan Faglung

for Arjho Carino Turner and Hans Brandeis

Years ago, I bought a hegelung from Music Inn, in Manhattan. I
didn't know much about the instrument, but learned quickly, and
through a series of odd coincidences I met Grace Nono, T'boli
singer, musical advocate, and hegelung player; I also met,
independently, her friend Hans Brandeis, ethnomusicologist and
expert on the boat lute, a general name for the class of
instruments that the hegelung belonged to. I've played hegelung
for quite a while ( see audio below and my recent session with
the brilliant Luke Damrosch mastering and on madal at ). We're now in
Atlanta, and Hans has introduced me to Arjho Carino Turner, who
is Blaan and working with Blaan musicians in the Philippines;
she is also working with Blaan communities in the United States.
Azure and I had an amazing talk with her and her husband
Bernard, and her two children; we met at the Atlanta Zoo, and
she brought a faglung with her, that she has given her husband.
The faglung and hegelung are related; the T'boli and Blaan are
adjacent. We discussed ethnomusicology and its politics, the
position of the Blaan in the Philippines, and boat lutes and the
faglung in particular. Arjho doesn't play the instrument
herself, and let me play it in the parking lot. I was careful
with the tuning, since it hadn't been played for at least a
decade (in the Philippines; Bernard doesn't play it), and the
strings were delicate. But I was able to sound it somewhat, and
it was beautiful; tuned up properly it would be outstanding!

All this by way of saying this has been one of the peak
experiences of my life. The hegelung and faglung are, for me,
uncanny instruments; they have a life and spirit of their own.
I'm hoping to hear more Blaan music (some of it is on YouTube),
and possibly to help find a way to have a cd issued; I have one
of T'boli music done by Mickey Hart with the assistance of Fred
Lieberman. These musics should be heard; for me, they're
transporting, meditative, energized, and deep.

We've been discussing all of this on Facebook; I wanted to put
up something myself, since I can distribute this also to a few
email lists and Facebook pages that might be interested. Thank
you all! (Azure Carter took some of the photographs, by the

session with Luke Damrosch on madal, myself on hegelung -

bloodriver amanuensis

the wound of 2 transliterated into the normative illumination of
3; the environment pales in comparison. it's all driven by the
apparatus of a stopped video load; the central timing wheel is
stilled as a result perhaps of a rupture somewhere along the
way. the bloodflow parts and churns and is buried in the inverse
rectitude of 3. the images resonate with the original bloodriver
video as well as its cover image, bloodriver.jpg. bloodriver is
also bloo-driver, the driven blue of the ocean churned to death.
death inverts. the illumination of death inverts death. this is
progressive reportage which is never fulfilled, always
incomplete; we like to believe the text is just around the
corner, but nothing ever returns, or returns in the same form.
we give credence to blood as sign, but it is never sign, always
empty; we inflate emptiness to the level of the sign. we call
this transmission or a text. the text dissolves in the blood,
the blood dissolves, the world dries, cauterizes. we will not be
around for a final reading, nor any such asymptotic. dissolution
of the blood empties. the planet empties. the timing wheel means
nothing. it is a panic symptom, panic syndrome. the only thing
that returns, turns, is the image. someone asked me about my
books today, whether there are any new ones. there aren't any.
do not salvage these texts; the inevitable, as one is wont to
say, is inevitable. they have always already disappeared.
nothing writes them. the blood is mine. the blood is mined, no

blood river

1. what on earth is going on with tcp/ip?
4. what on earth is going on with tcp/ip?


Andrew Klobucar, on Alan Sondheim's Writing Under

Hyperrhiz 15, Fall 2016,
Article by Andrew Klobucar,
Articulate Filters, Fluent Bodies: Reading Alan Sondheim's
Writing Under (2012)
Permalink -
(Andrew Klobucar)

I was really pleased with this article, which just appeared;
Writing Under is a difficult book, and Andrew Klobucar did a
brilliant piece on it. I understand it's difficult to follow the
'massive' Internet Text (named such for lack of a better name)
which I've been working on since 1994; Writing Under, with an
introduction by Sandy Baldwin, is an attempt to present its
underlying theoretics - ranging from codework to discussions of
digital/analog thinking, and all in relation to the body. It's
rare to find such careful reading!

I owe a great deal of thanks to Andrew Klobucar
and Helen J. Burgess, who edited the current issue.

( The interviews below may also be of use -
(Maria Damon, Murat Nemet-Nejab)
(Volodymyr Bilyk) )

( Also by the way see another article on work that, for me, is
resonant, in the same issue -
Collapsing Generation and Reception: Holes as Electronic
Literary Impermanence Graham Allen and James OSullivan,

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