The Alan Sondheim Mail Archive

October 1, 2009

"zany levels zing."

architecture of second life performing space

there's a platform below for discussion and choreography demonstration.
but if you sit on the platform, you generate particle spew energy.
only one person can sit on the platform at a time.
there's no room for two people to sit on the platform together.
above the platform there are several running spews.
these spews continue no matter what else is happening.
but they're out of sight when you're on the platform.
when you're paying attention to the platform.
when you're paying attention to the activities on the platform.
you can sit just about anywhere on spheres or other objects.
almost all of them spew and interfere with vision, movement, sound.
for you can only move from sitting to standing.
and when you are sitting you are dancing and prancing.
your avatar is no longer yours.
your avatar is guided into frenzy by an object.
frenzy and spews might interfere with serious demonstration below.
"zany levels zing."


"The performance aspects I work with are based on the notion of absolute
spectacle; what is presented is literally all there is. An avatar has no
meat, cannot be wounded, hungry, thirsty, dead. An avatar can embody
hysteria, convulsions, autonomic dance. We demonstrate this dance-body
movement in combination with a text I will present at the time through
chat." -


Performance, followed by discussion, will begin at 10pm New York time
(12pm Melbourne time) and will last until 10.45pm New York tome (12.45pm
Melbourne time).

grappling with the question of time - still contraditory "number of motion
in respect of before and after? Irrecuperable diachrony of pure
passingness? Reversible? Relative? Real? Living Present? Original
transcendence? Structure of consciousness?

experiences, memories, dreams, imaginings, and dwellings:

time as absolute/static: nothing happens
what happens is the time of the body, which happens to the view, not the

the speed-up is something the operator doesn't have to inhabit.

the operator knows what is happening = the operator can trace what is

definitely dreamlike, but ruptured dream, lucid dream
the nightmare of falling off the platform, falling out of the game space

my work is always in a hurry, i always feel near death, so my art
is really nothing but a series of small completions

every completion, every gesture, leads somewhere else. i'm bound by
what's possible for me in Second Life, whch is bound by money on
my part - not enough to rent a decent space, not enough to purchase
proper computers. as an independent i work outside of academia;
whatever i do is largely by myself and my limited resources.

nothing will remain of it, of this control, after my death. and these,
these are already altered and frozen gestures, from the movement-
moment of bodies a long time ago, bodies whose names are
forgotten, who no longer have, no longer take up, residence, here
or there

i relate to the phantasm, uncanny, an imaginary, to the hypnagogic,
to theory which turns its back on me, to an exclusionary economics
which keeps me here, not with you, not there in Oz. i can only dream
Oz, or dream Oz dreaming, perhaps you are not there, you are not
there, at all

in time, there will be no avatars. in time. in close time, there is no
hunger, no pain, no damage, no tears, no illness, no injury, no
thirst. close time is closed time; the avatar inhabits an event
horizon, a gathering of information without interior - with at best,
the simulacrum of interior

isn't death, where there is no death, where there is nothing? isn't
death the escapement of its absence, permeating an inconsiderate
memory of being?

death presupposes an event, cracks and stutters time. death vectorizes
time, and without death, i imagine everything reversible, neither here
nor there. the deathless is indescribable, a true-real death neither
of nor within-without the world.

it always takes time to die.

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