Message-ID: <Pine.NEB.4.53.0304241432420.10504@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>,
"WRYTING-L : Writing and Theory across Disciplines" <WRYTING-L@LISTSERV.UTORONTO.CA>
Subject: real-time text from my performance, E-Poetry 2003
Date: Thu, 24 Apr 2003 14:33:12 -0400 (EDT)
this turn of fate, this monument:: <::> this transformation <==> you can meet her in the dark <::> it's the best place:: lit by the fires of the burning of the national archives - koranic interlude - you can wait on the floor - there are always times for bodies i just got this guitar today so I thought I might use it in the performance. but then I don't think it would work since I didn't plan ahead of time for a guitar but I couldn't resist this one, it cost $40 (that's almost 40 Euros!!!!) thank yoU! thank you!!! can you hear me! thank you!Q thank you!Q the guitar cost forty Euros - anyway.... on the left anja schmidt on the right foofwa d'imobilite foofwa the immobilized - whenever one moves, there's a relationship with an object which is a three dimensional cauterization of the real this is one of those objects - this isn't a joke - embedded in time and space-varying projections transforming him into an object - you're seeing the object oh oh oh I'm beside myself now! I"M BESIDE MYSELF NOW! HEHEH! so anyway - you're seeing the object up there on the screen - which is in front of me and what if I couldn't type this fast? I'd be at a loss becauxe when you work three-dimensionally it's all, not even object-oriented, but it's the object itself - it' s the object itself - going inside and outside of the object - whatever happened to the body 0- it moves through violent spaces EACH SPACE IS AN ARCHIVE EACH SPACE HOLDS ITS OWN AS AN ARCHIVE YOUI CAN'T IMAGINE, YOU JUST CAN'T IMAGINE.. ` parameters...there are always parfameters movinag -moving - parameters at work caressing the space forcing you through it / into it THIS IS THE SPACE OF ARCHIVES THIS IS THE SPACE THAT WAS DESTROYED IN IRAQ the space in which an object appears in fifty-thousand or onehundredseventythousand forms and formats. a FOREST OF SPACES AND APPEARANCES information carried down to the molecujlar level look on the LEFT - the viruses from SARS look on the right - who or what is in the LAST STAGES - SO WHEN YOU STUDY HITTITE you learn in cuneiform that there are... strata,l layers, images, viewpoints - for example, you might want to write MY FATHER which is my name in hebrew - avi - but you would use Akkadian - in the middle of the Hittite - you'd write ABU.YA - like that - you can see the resemblance, but the hittite's gone, just like it s gone when sumerian or other forms, mitanni for example, start to take over - it's ALL a matter of layers and images - and their destruction - their overt destruction. what we need is something else - another form/at - for example the mouth - or a litany of plants and animals and humans on the way to extinctions... as plato would say - you get the IDEA.... Kant you understand? by the way Florian is here, hello Florian! we were waiting... which reminds me - that there are no end to them, the protocols and codes and codecs and levelling, no end at all to them.... so what you're seeing now... flattened images, collapsed parameters - every image is already an imperialism, a destruction - every image loses the memory of its creation.... thank you very much for coming and remember that the war isn't over yet that people and archives are being destroyed that no protocol can rescue them that everything is invaded from within that i'm playing a guitar with five strings that the six one is gone as in 'gone world' -