The Alan Sondheim Mail Archive

December 23, 2008

Chanukah Yuletide Lights Everywhere in Merry Merry Land

what i remember is that I wasn't ready.
I used render information structures to determine a messianic period.
what didn't work, the complexity of emergent lights.
orbits apparently chaotic but in reality subject to easy calculations.
Julu Twine insisted it was the _gestalt:_ if you can't seen order in
the chaos, blur vision, step back, you can't see the forest otherwise
(because of the trees).
I was always saying not yet to hir because I was lost in my own
over and over again, calculations gathered into clumps.
strategies and forests of flecks.
Julu Twine said look at my seed and there they were, the stars.
the stars were nodes, geodesic constellations.
hir manifold was closed but "part of the general tenor of things."
great flats hid and revealed our world.
you'd lose some information and gain some information.
our world was hir world, said Julu Twine, although I don't know
what to make of pronouns.
I never use them, I said.
that's right, she said, no soap, radio.

Come Visit Chanukah Harry's Magic House

To access the Odyssey exhibition The Accidental Artist:


It was F. S. Fitzgerald who said it's St. John's dark night of the soul at
3 a.m. in the morning, and I can attest to that. In the midst of exhaus-
tion, moments of clarity in spite of myself, in spite of themselves. You
can see this in the gleam of the nightwork images and the reorganization
of nature and culture in the Second Life work. Here Schelling's cows are
all black in equivalence, so perfect in your kind visit to the grounds and
their difficulty entering and moving about. A hint would be surely to fly
and a second hint would be to explore vertically and upward, perhaps with-
out help you might find yourself remaining in a great universe moving
through space and in this movement you are greater and higher than you
have ever been before. Greater, higher. And you do not know where you are,
Mr. Jones or Miss Appleby, you are in Ultima Thule, beyond Gauss's divi-
sion of the circle into seventeen equal parts, an example of the general
case. Ultima Thule is the circle of darkness, Gauss the brilliant light
within, but we know in our wisdom that Ultima Thule is luminous, Gauss
confined to the confusion of a night without stars, gods, boddhisatvas, a
night where nightwork generates a remnant across Jordan's Jordan's curves
from which there is no escape; if Cocteau's beauty within, the beast with-
out, and without, the true beauty, within the true beast. Now, unseeing,
we huddle in an emptiness opening everywhere, even within second or third
lives, lives of small huddled creatures like ourselves, lives of protista
large and luminous like auroras in the northern skies. Fitzgerald saw them
from Ultima Thule, as did Schelling, in spite of Hegel, in spite of gnaw-
ing at identity, in spite of plunging back into mathesis where mindless-
ness reigns. Now look and visit, an eleven image alter from the following
and then visit and look, what moves within worlds of worlds, performatives
scurrying beneath each and every surface, perhaps Anthony flew.

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