The Alan Sondheim Mail Archive

Riddle and Dressing for Tibet

'Something for Tibet,' other than petition and money is most likely sense-
less, prayer is senseless, nothing holds against an absolute backed by
what might pass for the inertial power of substance and its ability to
degrade and violate. I might say my heart's in the right place, but who
determines, who knows? So these image/videos are perhaps tantric, that is
my tantric, it's inconceivable that they exist on any register of medita-
tion when I can't hold my own even for a night's proper sleep. In my mind
then these videos lend, one may borrow, as I have, perhaps, and China in
Tibet is inconceivable and now, imminent, control is gone and these are
remnants true but portals.

(I apologize for the slew/slough of videos swallowing texts as they gen- 
erate/are generated from their own subconscious (of which I am merely the 
catalyst of course). And I apologize for the weight of these videos, which 
are detailed to the extent that processing with a quad cpu and gigabytes 
of RAM takes two hours per minute just in preview mode. My initial text:

(When things go on limbs from scans of things moving slow.
(When things stand for limbs in communities of narrative.
(When things copulate things petrified they stand still.

(- as scans are attached to bodies, body parts - in other words nodes. A
scan is already a compression begging for wandering as a means towards
diegesis. And so many figures within it!: Foofwa d'Imobilite, Azure
Carter, David Bello, Kira Sedlock and myself - all find their way into
wrapping, merging, hole-filling, shelling, smoothing, fine-tuning - all
for a ragged presence run amuck, wayward, back again with the doubling of
d'Imobilite, Sedlock, Carter and Bello. By the way, these productions use
behavioral filtering - sin to tan for the most part - skittering scans and
the memory of things off to infinity and back again, what happens between
or among frames. (If you've watched any of the recent work, this culmin-
ates the use of .obj files as cloth/ing narrative punctum. If you haven't,
this and this might be the ones to watch. If you have you will see how
these have moved from the other recent movies. Then you can see how
narrative comes from objects close to dreams or deity generation, Tibetan
stem, and nowhere to go but outward through the real.))

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