Message-ID: <alpine.NEB.2.11.1512190307170.1083@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: pose/t
Date: Sat, 19 Dec 2015 03:09:23 -0500 (EST)
pose/t http://www.alansondheim.org/poset.png http://www.alansondheim.org/poset.mp3 violin+viola http://www.alansondheim.org/poset.png cura saz running around, editing the sets down to not everything survived the cut and closure only by construct neti neti for wondering how these would set, finally and for how long The poset in situ. The pose is drawn out of the dynamics; the spectator, in the purposes. The pose is the ridge or hinge of movement, the pause or victim of seizure. Every pause is a pose, every pose a pause, both given as a gift, for the other, oriented; the orientation of the pose defines the stance of the other in inverse relationship considering the locus of the viewer as well. Tiffany cries "That is not art! Hold the pen/write, pose your hands above your head just like that, hold it, viola and violin!" And then exhaustion, air-bones, some with a certain image, some move on. And then hour after hour in a useless posltion, and in photogniphy the pose is everything, so I - I, I take a pose and hold it for you; I release it the body moves through me in flesh, drawn out of the dynamics - or victim of seizure. I can hold a pose if you want or do a slow move a slow slow move. air-bones in a useless position (useless passion). The poset in situ, such a gift.