Message-ID: <Pine.NEB.4.64.0908041229060.10378@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: involdance 1, 5, 6, 4
Date: Tue, 4 Aug 2009 12:29:42 -0400 (EDT)
involdance 1, 5, 6, 4 breaking new ground "if you want to understand what they're about, perhaps these works will open up the vast chasm of comprehension on the edge of falling apart - I can't think of any better pieces in this regard, and, for that matter, in the sheer beauty of fractured movement" http://www.alansondheim.org/involdance1.mp4 Foofwa d'Imobilite, dance/choreography, Alan Sondheim, yayli tanbur http://www.alansondheim.org/involdance5.mov Foofwa d'Imobilite, dance/choreography, Azure Carter, solo voice http://www.alansondheim.org/involdance6.mp4 Foofwa d'Imobilite, dance/choreography, Alan Sondheim, cobza http://www.alansondheim.org/involdance4.mp4 Foofwa d'Imobilite, dance/choreography, Azure Carter, dance, Alan Sondheim, hegelung (listed again) works based on choreia, return, withdrawal from broken edges (before one is cut) (before the sound loses its grasp) how does one write or circumscribe the body of movement within horizons defined by mappings of hyperbolic geometry in the circle? the edge isn't just asymptotic; from the outside, it's a bad pill. what looks like chance is a battlefield; what looks determined is incandescent birth. there are so many things these movements and sounds are not: listing narrows sublimity: just look, it's almost drained away.