The Alan Sondheim Mail Archive


(essay on sex.mywork for an offline magazine.)



k14% sex.mywork


k16% sex
ksh: sex: not found

k17% i'm not saying that sex is a foundation, originary impulse; only that
it retro-projects into the fantasm of an originary state. sex is neither
an irruption or disturbance within enlightenment contractuality - nor is
it intimate with violence, with pleasure, with desire.

in spite of aphanisis, its domain engorges, its symbols topple, it topples
symbols. it pervades appearance as perception peels layer after layer of
clothing, culture, speech, away from bodies turning supine.

it curls around the image. it filters through programs and protocols. our
names are lost; we are always among the missing. the greater our passions,
our arousals, the less our signifiers remain; we flow like wax into you,
taking your impressions.

it's politics. it transforms into the rhetoric of war and the strategy of
war. it's a game of substitutions. this is a window of displacements.

content curls around the image in a state of arousal. it creates uneasy
dreams. it may be portrayed as the game of bodies: give yours, take ours.
it's the beginning of transitivity: we will devour you, you will devour
us. and the beginning of an inverse economy in which value is devalued in
breathlessness.

sex uncurls the body; eventually everything is proffered, di/s/played,
exposed. you are given the ontology of the image, representation portrayed
and analyzed as function. the sexual image is oral, pre-oedipal, the
murmur of the world, the choratic stuttering into the construct of space
and time.

eventually it doesn't need anything at all, neither body nor viewer,
writer nor reader. plasma curls the image, the page, the computer, flesh
and its offerings. neither is it transcendent; it remains caught in the
throat; the throat surrounds it; the throat is distended; nothing
breathes, nothing speaks.

k3% work
ksh: work: not found

k4% everything turns to liquid; everything flows, cauterizes. the corro-
sive effect on the basin is to gnaw through to emptiness. within the aegis
of gravity, gravitas, it can flood through all pronouncement. it draws you
in. sex curls the screen, turns hard drives into replete translations,
fills hard drives with catalysts of the imaginary, turns our images into
part-objects, spreads us across your magnetic domains, your optical
domains, your fiber optics, your twisted copper wires. nothing touches
anything; the drives are sealed, abjection without.

"what we have is our presence in the cosmos; we can feel the weight of our
arms, legs, breasts, the heaviness of our head turned to one side or
another, the explosive gasp of air (surfacing), the violent inhalation
(going down once again). we are thrown into the flesh of other's; we claw
through it back to our original face." (banon)

our original face is never ours alone.

our original face is always elsewhere, always others. we are blind beneath
the surface; we carry atmosphere with us, refusing union. union alone
extricates the flesh from the flesh. our original face is flesh.

in "our" work, we work the original face. we play against technology,
memory, direct and indirect addressing. we participate in the irruptive
economy of desire, arousal, trembling.

the body shimmers in repetition: stutters / shudders / shivers / shatters
/ spatters / smatters / clatters / clutters. repetition is always inexact;
the noise of the other, chthonic domain, is always in emergence. in "our"
work, this trembling scatters; objects return to part-objects without
memory of the w/hole. the images / videos / texts exist on the lip.

the lip is the guard and guardian of the other. the lip, labia, is the
other's entrance. the lip is the emergence of the word. it is all of the
word of the lip; the world is tongued.

the face is nub; the tongue, nub of the nub. the material of the world is
a matter of pressure; substance is the same against the same; the nub is
the lip or edge of differentiation, difference. what emerges from the nub
re-enters the nub; what the nub differentiates, returns to the same.

the representation of sex in "our" work is as explicit as possible. it is
as delineated as possible. it withdraws from the medical into the fantasm,
withdraws from the anatomical into the anatomical. it wavers among
anatomies.

it is as if the presentation were itself a text or inscription of sex, as
if all sex, all culture, were inscriptive, were process. but the same
presentation collapses; the inscription is within self-erasure, self-
disclosure; the sex were chemical, full-on, the catalyst of incandescent
arousal. (as if to imagine us whispering in your ear; as if to imagine
this is for you, and you alone; as if to imagine you have us in our
fullness, the scent, touch, and taste of it; as if we were your pocket
imaginary; as if we were your imaginary process and procedure, protocol
and program; as if we were your imaginary corporation. our body becomes
your own; it is unbecoming, wayward, contrary, sassy; it speaks words that
should not be spoken, gives away secrets that should be kept hidden. it
remains parenthetical; it overturns content, inverts, as our holes are
inverted, as our mouths inhale the remnants of language: as if we, as if
you, were parenthetical; as if parentheses were contradictory, unstable,
destabilizing, naked, reversing at high speed: )()()()()()()( in a
simulacrum of that repetition from your interior that raises the alarm.)(

it is not the reduction of 0*S nor the splayed inversion S/0 but that
signal or warning of loss 1^S in a process of absorption, a false S of sex
and the subject, sex and the city contract. it is not the diminution of
0+S, nor the reaffirmation of S^1. it is not the symbol nor symbolism, nor
the symbolic nor the semiotic; it is the semiosis of the subject absorbed
by the trembling of the parenthetical, holding at bay, beyond the Pale,
what is most feared, that of indiscriminate fucking, desire penetrating
beyond the criminality of the family, terrorisms and explosions at the
heart of the continent, produced by continentals, for continentals, that
theater of the real which is always and simultaneously contained and
uncontained.

that which is always a loss and a gain, a matrix and lost terms.

2,428,472 terror0.mov 2,003,222 terror1.mov 2,007,064 terror10.mov
2,521,204 terror11.mov 2,813,798 terror12.mov 2,154,246 terror13.mov
2,219,020 terror14.mov 2,357,798 terror16.mov 1,928,738 terror2.mov
2,128,458 terror3.mov 9,483,752 terror4.mov 11,311,620 terror5.mov
2,053,232 terror6.mov 3,097,668 terror7.mov 3,118,812 terror8.mov
2,121,244 terror9.mov

322,756 theory1.jpg 276,402 theory2.jpg 302,479 theory3.jpg 293,133
theory4.jpg 300,316 theory5.jpg 245,574 theory6.jpg 233,133 theory7.jpg
232,403 theory8.jpg

61,224 poison0.jpg 46,448 poison1.jpg 119,470 poison2.jpg 66,703
poison3.jpg 64,831 poison4.jpg 47,346 poison5.jpg 47,569 poison6.jpg
53,243 poison7.jpg 64,427 poison8.jpg 203,856 poison9.jpg

130,317,436 sex.mov

1,640,468 spread.bmp

214,664 skein.jpg 182,247 skein10.jpg 240,176 skein2.jpg 183,262
skein3.jpg 317,868 skein4.jpg 316,094 skein5.jpg 305,447 skein6.jpg
262,084 skein7.jpg 219,589 skein8.jpg 237,542 skein9.jpg

that which controls the terror. that which poisons the theory. that which
spreads the sex. that which catches it in the skein. that which holds the
skein. that which grips the skein. that which loosens the grip.


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