Message-ID: <Pine.NEB.4.64.0909190253450.2064@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: r for the tree upswing
Date: Sat, 19 Sep 2009 02:54:03 -0400 (EDT)
r for the tree upswing r for l tree where it might n ok for ex physi k for exmple." ription tion to n ny, you might think h seems omplete - n omplete - n n h n-imensione in the s imensione me of trees h mens there n es, n geo ll this esi tion, tht of the semiotiis the twist per se the twist t not nnihil- , nnihil- ut inform e-time is presene l gr s well it is le, methe twist is me urvture in philosophisure of lo ture in philosophi tlk of , lk of n energy-momentum s if one n energy-momentum oul se s everything up into zero or one the re ut never ree h the zero point there ies slow, mentl nts of ment ginst noise, tuning lw inst noise, tuning is never the sys pl is never the sme ys me g s tuning , , , ut neither is it import ognition of the inheren erutting the "myth of eternking, hes the temporl or m l or y the time one re sptie eing-humn, it l s omes fiels of insom s of insription, however ins, ription, however n efine in nities, inet le ipher- mong the hum e nothing left for us to o " ontin nuomplete in nuity they're up , whi ity they're up h sons, ut foofw zure, vi horeogrphy, zure, vieogrphy, phy n/ phy turing foofw swy o y ily movement weight of reles, penis = hum les, penis = ionysin ritutes the n rituls to o ls to y to everything from er, others extensions ries of the ttoos, shveo rs, uts, h uts, ruises ir, s ruises ls the oging, illness, sp ility ging, illness, spy's tot ging, illness, spsms lity/vulner sms ription horeogr ies ring simil llel strutures with l oper tures with tions p e sie, r y move towru s self-reflexivity e m ers' movements i.e. ' the utening, et. , their own mus . , nother form of self- les remem nother \ n lyst for rous\ rousl l t ers' eret nipples, penis - l t nipples, spsms lity/vulner < horeogrphi > horeogrphi rition horeogr ity on wepp s z into lf step lf step /e lowere on re iny fternoon, y, out the ook there st time. i ook there re no thrust ssk her re no thrust senes there like th ere there like th ere out fter them fter them n ppening on the hnnel to h ng the nme on everything ng the n me on everything me on lize sn h emti gener sent epistemology is virl, l, ept ommon - o nson t not e-time there wet her p re sokeeiling's , lls on i think the ltter, nothing rm tter, thingies rn wling. n e hereffluvi the whimpering the mewling the howling ries out to rying the murmuring ut most of ut most of ut most of ll the howling the mewling the ll the howling the mewling the ll the howling the mewling the the ll is in my slivn liv thingies rn herr the whimpering the mewling the howling the rying the rying the rying the he ut most of ll the howling the mewling the whimpering n ll the howling the mewling the whimpering n ll ll into existene loth shoul e you know tht every oe t every oens, n hr you know th ors its hile ren, on rm tter, nothing oult strophe, not s orrosion. long live the ie tomorrow. is yours fu murmuring ut most of ll the howling the mewling the whimpering ll is effluvi e he whimpering nrying most of ll on wet flesh, it's spetre n tre ept for revivl groups it's the rumhorn or l groups it's the rumhorn or is going out of existen rumhorn or e, ex onf lly iousness re . ut tht mz kes it interesting e rhr for voi rmonihrom 1 h tune hrhrmoni lveless hromtune h hromtirh r for uku r for uku r for voie uku uku r for voi ppens when _this_ stiks n ks for wht ... t ... t ... ... ... for wht i ... for wh t i sk you ... t i sk you ... sk you ... ... for wht ... t ... ... for wh the results n n1 things t s towrlly the worl s howling pin in s tow if ry musi wing-room of the eighteenth-entury entury entury 7 we're still living in the in p mily where i m > i see this refle ompoop" n on't nee you to hn stumle towving your le towrre s vs i stum ksh sving not founksh s ving not foun ving not foun ry musi the remn l offering s if w not foun the frme-ron te is 100 fps. n l 'temporl orers' in thrust of the projetefr e there re thrust, nking in silent thrust, not to nking/un events. l-worl ere e m ny spees ere s y into ke v ount . into ll of these re supple the speetor of thrust in the projetor ry, tor ll of these tion the spee of originltere up or slow own, le spee own, s i.e. n vry set in e s well. hies, the film night, upswing