The Alan Sondheim Mail Archive

why codework


wary of any art movement tending towards genre, not that the two are
simultaneous or even related. there are limits to codework; on one hand
the code itself, on the other the process the code sends - what - through
- text/image/subject/object/monad/desire - think of it as retinal
filtering - that is the isolation, production, and naming of objects
within the continuum of the world - it's both structure and generative
process - the latter tending towards ontology.

what is, is the domain of production - the input, to the extent that it is
text/image etc. - i.e. not generated within the program itself - is
parasitic, the third term within the communication process - on one hand
traditional 'content' - on the other - 'noise' within the system that
modifies and is modified by the output.

i tend to think of this in terms of two large-scale operations - that of
consciousness and its relation to inputting and outputting - fuzzy and
rough domains at best - not a behavior analysis - but one stressing the
interpretation and phenomenology of consciousness within the filter -
seeing this as the way the world is, that is to say the relationship of
consciousness to the world is vis-a-vis formal and informal systems in
which filtering/language produces discrete elements in relation to
consciousness on one hand and the world on the other -

and then again - the second large-scale operation - that of the universe -
plasma, virtual particles - the disruptions and collusion/collocation of
structures - momentary buildups, impediments - codework at the limits in
other words connecting, a connector among others, between self and cosmos
- without descent into the mu of zazen for example - or ma, space/interval
- looking at correlated particles for example in relation to, but not
always, the space between them -

so that there is a production of meaning, the gleaning from across all of
this - structure, process, the parasitic - it's the production that is
also an inhabitation and interpretation by consciousness - it's the
situation of being-human in the world - it's worlding itself -

at least this is how it seems to me, the movement-genre is irrelevant -
what's important is the exploration of consciousness and the relationship
among articulated entities in the world - there's something of cognitive
psychology to this (but messier) and something of art as well (but more
exact, almost uncomfortable, diacritical) -

not a movement or genre but the loose domain or pooling of the confluence
of structure and content (in the traditional sense), subject and object
(in the traditional sense), i and not-i (in the traditional sense) -
dichotomy itself - or the very nature of distinction - the sheffer stroke
or its dual for example as the basis - neither a nor b - not both a and b
- already tending towards the quantum mechanics of superimposition and the
phenomenology of the gesture -


===

It's True


Around September 10 a yearf ago, Azure and I were sitting in our Miami
apartment. The phone rang. It was a call forwarded from New York.

I said, Hi, who is it. Shlomo, the voice said. I don't know any Shlomo,
I said. It doesn't matter, he said. Get out of the World Trade Center, he
said. I'm not in the World Trade Center, I said, I'm in Miami.

All the Jews are in Miami, he said, they all got out the World Trade
Center. What are you talking about, I said.

He said, look, I'm Israeli, I got another 3999 calls to make. What's the
occasion, I said. They're doing it to the buildings, he said. Who's they,
I asked naturally. I was really curious.

Bush and us, he said. We're blaming it on Laden, he said. How will this
affect the conspiracy, I said. Which one, he said, the International
Zionist Conspiracy or The Pigs of Zion. I don't know, I said, the usual
group, I've been following the Protocols of Zion for two decades now.
I want to do everything I can. I think of the energy you've had to call
all 4000 Israelis who were going to the WTC - even looking up their
addresses must have taken an hour or two. You put us to shame, I said.
I'll do anything you want, I said.

You should, he said. Not enough of our people really want to help. Can I
put you down on the list? I said I'm not sure I wanted to be part of a
list that wanted me. For the International Jewish Monetary Fund Propaganda
Arm, he said. Of course, I said, anything for our the Jews.  You know we
all support Israel in absolutely everything it does. Even blowing up the
WTC? Of course, I replied. I'd been joking with him; I knew about the fake
Arab names all along.

Later, I called Frankie and passed on the information. You'd be amazed how
many Jews we got out of there. We've got to live to fight another day.
There are so many Christian children to be caught for Purim and Passover.
We don't have any time to lose.


Hymie Sondheim

the newest of all languages

acta ntaeth eralterialtiteesriAmid aharound saravat BB Sbi oom
bricolbragiceolbushcastracadracdro mCE NCerechor aclot
coheconcreiencllcoocllioatnsioComp aqlicocimptlisnessesensusualitierdon cu
CybermCyinbecyrscypabecersbo rgd'uz na ladeexcaisthtrtrucucfldefu
geDerrsiccdeedccdhtm ldidihrhrlylyyhreget
ffanffsasassssiaiangngnvnvnnecogecefemtsemizpapsps
ululcenepmeepevglevaderpepeivnsusexfamifaas
sctuscfefoedrwfofictlmmafikelmrmakstof
waurgegigabygigrneidhalfhapooupthehiel fhiaphihorc hyhoht mltpearrtylii'
veeoidamgrikimlempxidern rpenojojpiizjavaJe jennif jiujijouijudglukanj
Keba kw Laualaun gu nu xcrmiowcrldormohsmsMtmuicltulsm MynoNa
ighbhborodingNeopsiniku koNi'sNiNY Coeuv
PankrertrtysgspephpeytrirlpneupnspmoprqbRN AruSagdhSato
wgxuseakuhshawimgnskeiSnoxsobgsuuprooiupdsoibjbjvi vibtSydmSyxolsteAc
pipium UR LLsvoVR MLwebboa Webptwwowrww wyazaze

===