Message-ID: <Pine.NEB.4.63.0606051501460.5695@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: em/bedded mass - phenomenology of substance (the last of it)
Date: Mon, 5 Jun 2006 15:02:26 -0400 (EDT)
em/bedded mass - phenomenology of substance The show em/bedded . There will be antennas and field telephones. The large room will be all [] There would be a small tent in the large room, possibly, off-kilter, conncted to a tent in the small room. I'm not sure yet about the Trolley Car. We want to put video in there, there are places to sit. It's like an underground. One possibility that would work - just field telephone calls [] Leslie work opens up into spaces that my work tends to close down. We share a sense of imminent catastrophe, as well as, to be honest, brilliant imagery, seductive even in its deadliness. [] In the small room, we will have memorabilia collections, whatever we can send across. These include photographs of Iwo Jima from Azure's grandfather (on the ground), a battle-map of Iwo Jima on site, things [] I want VLF radio somehow present - I'm not sure about this. I can bring or send the radios out; we can see what we might pick up around Bergamot, and to save batteries, we might as well tape the stuff and have it play from a cd player or some such. I want to possibly erect a signal kite in the central space with an antenna wire coming down - we might actually be able [] The VLF radio relates to the 'primordial' of life, to actual fundamental particles themselves, to the resonances of particular spaces. The videos relate to histories, memories, sexualities, pleasures, absences, presences. The more we have going the better. We need to check on the [] every one a murderer * original photographs of world war two battleships * stereograms of world war one trenches and bodies * original photographs of world war two pacific fighting * stereograms of world war one technology * world war one will now be abbreviated wwi * world war two will now be abbreviated wwii * original photographs and other papers taken from wwii japanese dead * a top secret wwii map of the iwo jima battlefield from the battlefield * projections of torn avatars over furiously moving dancers * projections of dismembered avatars over propellers and gratings * nomadic tent located on the hardened gallery floor full-sized with video within * one to three half-tents with field telephone/s within (see below) * a small photograph of a japanese wwii fleet presumably near yokohama * murmured texts played back from scattered monitors hardly organized or present in space of every one a murderer [] MIAOU [] * with the uttermost beauty of human beings there is no rest here and here in this space * static images of dismembered avatar imaginaries torn into uncanny beauty and troubling poses * dark spaces of rattling building vibrations sublated to aural frequencies of the human organism they are here * dark crackles of very low frequency radio trembling in the presence of human bodies auroras lightning decay of particles across the cosmos near and far */set up with antenna in main room perhaps speakers in back room - but on/off switching absolutely necessary - perhaps VLF radio with recorded sound/* * i am so ashamed i cried when i saw these images written large somewhere in the vicinity of wwi and wwii * the 1895 telegraph receiver mounted in the antique trolley car clacking away and electronically echoed from sourceless speakers sounds and presence of ghosts */may or may not be possible depending on cost and consruction skill/* * the this of this is you and the you in this splayed space * space of ionizations ionized air recorded space of radium decays * space of furious nighttime guitars garcia lorca spanish civil war * space of inscribing of inscriptions of the last inscriptions of soldiers dying and all memories lost recuperations of names and translations from foreign tongues * the evanescence of horror in the absence of horror naming horror in its very absence * every i is murderer every i makes love The tents in the outer room are half-tents, partially attached to the framework of the building, partially floating. They are as nomadic as signifiers, language flushed out of its lair. But the tents are real, canvas; an air of depression hangs over then, a fog. They are in the midst of an image storm, a continuous splay, spew, emission, of violence, sexuality, cloned grotesques, the crackling of radio, electricity. The work occurs in the far future - mutations, extinctions, broken spaces of information. The work occurs in the past - organisms huddled as if protected against the fury of the world, primitive electrical machines tuned into atmosphere and universe. The distorted bodies are our own of course, in the present, of course. The work offers no solution - there isn't any - but presents a distorted beauty of its own. The field telephones connect the tents in the smaller and larger room. The kite connects the tent in the outer room to the atmosphere. The tents in the outer room are splayed, dysfunctional, as if attempting, and failing, to rise form the ground. The tent in the inner room is home to images, to a space of looking, watching. The tents are WWII tents, resonant with the materials in the smaller room, with the video and tent of Leslie Thornton. Think of the in both rooms as along a sightline, faultline. HELLO HELLO. [] MIAOU []