Message-ID: <alpine.NEB.2.11.1507191729160.21760@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: dither warped
Date: Sun, 19 Jul 2015 17:34:38 -0400 (EDT)
dither warped http://www.alansondheim.org/weevole.jpg http://www.alansondheim.org/thera.mp3 The cloth itself is woven, (h)edged to keep the w/hole from well- tempered instruments. BUT, then, bending strings, without that, it leaves the listener unsatisfied; the tune, the creak of pump organ pedals, the shuffling of the hand SKIP TO the repeated rebuilding of the ISE shrine every twenty years, for at least over a millennium, so that the wood doesn't ANGLED, a CROSS WITHIN AN ENCLOSURE, a MAN WITH OUTSTRETCHED fields tends in this direction; combined with a water sign, against spruce or skin, holding and moving position, near the steward- ship is implied, (the sites are rectangular, pristine, exact), as a weaving of In Montfort et.al., 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, MIT, spaces, cross-stitchings, re/marking territory in silence and combination with another sign produces TOWN. So the mensuration fragrance. BUT slight changes in fact made to the building each the text of the dwelling within, tea ceremony bowls; playing music, I look for audible breathing, unravels. And the internalization of all of this, dwelling within these stitched elsewise, different potentials, different fields, each It's the irregularity that creates the armature of handicraft, journal Complete guide to the work table, 1885. I also have the sound of a cough or gasp, the click of keys on a piano or bridge of one or another instrument, it, each a different landscape, territory, horizon. the signs of the axe on planking, ruptures and compressions on 2013, Chapter 30 REGULARITY, an account of the Jacquard loom, mythos; and threatening unraveling: slightest pursing of the lips. The instrument and sound always, the instruments, playing, keep me sane - each one a fabric I play tunelessly or tunes of length N, N being small and rarely cross-stitching, sound- stitching - unraveling; music stops most often somewhere near the tonic, taking-up and putting-down of the piece literally at-hand... time, or from time to time, and the building itself SHUTTLED repeated. The instrument as well, a form of TENDED CLOTH, radical 102, a SQUARE DIVIDED INTO FOUR SQUARES, a CROSS-STITCH, the creaking of the bow and strings at the end of the stroke, numerous examples from Godey's Lady's Book and Peterson's clarinet, the noise of woodwind linkages, keys snapped back into bypasses, as does 10 PRINT, the handiness of stitchwork, From Matthews: "Fields, land, landed property." In Japanese, gratitude, in-dwelling in sound and movement - and apropos Matthews' Chinese-English Dictionary T'ien: in this case but also a sketched account of stitchwork from the young ladies between two sites, back and forth, think of this as mensuration the audible sound of the nails on plucked and pulled strings, Not to mention retunings, returnings, stoppings and startings, creek or sag, so that the cedar retains its freshness and magazine. 10 PRINT gives an example of repetitive instructions, the art/labor and settings involved, the choices to be made, the land that can be flooded for rice. Repetitive structures, given grids, equal placement of frets on ARMS TOUCHING THE SIDES OF HIS CELL, a PLUS SIGN IN A SQUARE. A potential huddled against the body, or the body surrounding the position of least resistance - half-covered holes on woodwinds, slurs, everywhere, the warp, the woof, the stitch, the stitch, the cross-stitch, the double-cross, the half, the bereavement of the half, the dither, the crossed-dither, the crossed-up, crossed-out. (thanks to Maria Damon, Luke Damrosch, solo tro sor through Luke's comb filter Supercollider program)