The Alan Sondheim Mail Archive

February 1, 2010


Bones

In honor of the American (US) television show, Bones, with its
irresolution of psychotic relationships among the main characters.
"Not to mention a fine SL video, if I do say so myself."*

http://www.alansondheim.org/Bones.mp4

*Is such a statement performative; is the subjunctive always performative?
(In the sense of evanescent fading. The performative doesn't lie in the
fineness of the video, but in the potential for speech proffered and then
withdrawn - or perhaps not withdrawn. The statement itself presences such
speech; it's already stated, give status as possibility. But because it is
_me_ saying it, then in fact I do say so, but not as declarative, only as
subjunctive, as if it might be sight / might have been said. The outcome
is never clear (nor is the quality of the video), making such a statement
uncanny, ontologically wavering, neither made nor unmade. Perhaps the "if
I do say so myself" underlies _every_ utterance, undercuts and withdraws,
as if the perceived and heard world were fantasm. And that is the truth,
since it is death that may cut, cauterize, deny the _second_ saying, as if
"for I do say so myself" - but that is not the case - the case is _if,_
presupposing, without cause or reason, that the utterance might be spoken,
might still be spoken, that the speaker is still alive.

http://www.alansondheim.org/Bones.mp4

Hi - do check this work out when you have a chance - quite interesting!

- Alan


---------- Forwarded message ----------
Date: Mon, 25 Jan 2010 09:09:55 -0800
From: Carl Bruce Stater <brucestater@cox.net>
To: sondheim@panix.com
Subject: Cri-Cri & Squark

Dear Alan--

I don't know whether you will remember me, but we exchanged a couple of emails 
about two years ago.  I recognized your use of multiple code constructions, 
polymorph grammars & syntaxes, & fractaline semiotics as having something in 
common w/ my own work, w/ my working process, my experience of language & the 
world.  After looking at a few short poems you invited me on to the wryting 
listserv, where I responded to one of your poems-- "I've seen the end of me."

I've finally put up on the web a few bits & pieces of my very long work Shaman 
Machine-- a somewhat difficult to define assemblage of performance, artifact, 
virtual & imaginal construction, historical documentation, & poiesis-- which I 
have been "working on" (or better, "working through") for the last 11 years.

In case you're interested, you can view the various sites through links 
available from the following page: 
http://sites.google.com/site/cricriandsquark/home

All the best, Bruce Stater

Wryting, Culling Wryting

Inscription tethered _concretely_ to wryting, protolanguage, body parts,
and the fetish, that it is a _function_ thereby of wryting and not ideal-
ized. Think of it as substance, with a certain inertness, sturdiness. Thus
truth as function of wryting shines with the wryting of sheep, goats,
grain, rice, papyrus, jewels, and other tabulations. So wryting is a term
configured for _this_ space, extending backwards and others come into play
here; mathematically, it encompasses the abacus and phenomenologies of
enumeration. And wryting is any and all of this, intensifications, terri-
tories, the accountancy of natural kinds, never the preclusion of the
ontology of the written. In other words, becoming-wryting - spelled with a
"y" - a state of material / maternal writing, and so forth. And so forth:
Wryting is the accounting of the desire of the subject. I call "wryting"
the impulse towards _concretion_ or the _grain of the inscription,_
however configured; I wryte myself out of it; I wryte through writing, and
the act of wryting. Again, writing, which embodies a projected body, I
call _wryting,_ since it might be considered a performative personality or
body, Julu said, structured against defuge, or the depressive harboring of
impure flesh: but then of these as well. And culture itself? flesh, body,
organism, gestures, tonalities, and the systemics and poetics of wryting.
Thus writing is always already writhing, and its kernel is encoding,
protocols, hermeneutics. There is no coding without temporal coding, no
wryting without immersion, no wryting in time, no time for wryting. All
wryting entangles with poetics, poesis, autopoesis, impulse and drive; all
wryting accounts-for, is accountable, is unaccountable. Death and untoward
pain are wryting's dissolution; healing coagulates wryting in similar
formations. Death is the cessation of wryting formations, and the promul-
gating of skeins of new wryting formations. Always inscription, always
wryting, wryting wrytes and is wrytten; what is, is meaning; wryting is
never meaningless; the presence of a sign is already an accountancy. Now
loss inhabits the symbol; inhabits wryting; wryting inhabits meaning. How
may one wryte wryting? One may not; wryting wrytes elsewhere; wryting
wrytes otherwise; wryting never just wrytes. Wryting is the wrything of
the hermeneutic; wryting is imminent and immanent; wryting is there is; a
wryting. It is thereby tethered _concretely_ to protolanguage, body parts,
and the fetish, it is a _function_ and not an ideality. There's a certain
inertness, sturdiness to the symbol. Thus truth as function of wryting
also shines with the wryting of sheep, goats, grain, rice, papyrus,
jewels, the wryting of natural kinds, epistemologies, ontologies; wryting
is split, shunted into decentered lamina, the _said_ of it. "defuge,"
"ascii unconscious," "emission," "wryting": These are coherent and lack
across domains; the limb is beyond wryting, objet a, already tossed and
lost. Everything and nothing escapes a wryting without conclusion, culled
and tossed and lossed. Death is the diacritical of the text, theory-sub-
stance, wryting, nothing. And I call _wryting_ and it occurs in the world.

A point about interactivity: Every writing, wryting, upon reading
constructs both things and orgasm, a wryting into the body of the true
world rewryting the image or text as internal or other phyla, other
processes. We might use "wryting" to reference the effacement of the
interface, production of wryting the body. And wryting the body is always
the wryting _of_ the body and wryting _on_ the body; all texts are
pornographic, broken texts of pornography, sutured texts of death.

Wryting relates to poesis, poetic-generation, since the words always run
among dismemberment of body and sign, trace or hymen lost among spaces,
body parts among totality. Wryting is a movement towards text/ure become
autonomous and everyday, Merlin Donald's extensions of neural phenomena.
It cuts through the body/textual body/body of the text and inscription.
Wryting-space: because one takes the desire of the subject into account.
Wryting is clotted inscription, that is, writing inextricably merged with
spews through sexual fantasy, obsessive thinking, compulsion, again always
inscription. (It wrytes otherwise and never just writes.) "And I call
_wryting_ and it occurs in the world."

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