Message-ID: <alpine.NEB.2.20.1708190023320.19424@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: */Submission/*
Date: Sat, 19 Aug 2017 00:26:12 -0400 (EDT)
*/Submission/* http://www.alansondheim.org/below24.jpg http://www.alansondheim.org/below23.jpg future anterior of the poem that would have been written --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- 1,3c1,2 10,12c9,11 14c13 16,19c15,18 21,22c20,21 24,27c23,26 30,35c29,34 39c38 42,44c41,43 5,8c4,7 50c49 57c56 62,63c61,62 69c68 75c74 78c77 < < poem I as < > among ourselves, among each other thereby cut through < Hz those < Oh for old dime's skew. Look, we're in noh be. titters! < Oh for old timer's sake. Look, we're in hatters! < ah c < ant < asked to write or submit you, < brittle dress age of individuation. < category where dynamic locations cut through the < cut through into this plenum: < divide < duets. Or e < dune locations cut through dye < echoes which reversed, inhale time in < gel individuation. < go on, just like that, around the unrelieved U.S.A. < gory n object new category where < into this plenum: < l, relent < lie sound, < long categories < low < madam < mica brittle dress brittle dress < nd it's thereby topic, the USA no longer release, relate < nether st < otters! < ourselves, among echo thorough < prows < sync < t, round un-relief unrelev < tenor their < this any other discussion. Big sweeps of to wives < unrelated U.S.A. < vex < yes plural tions, we > poem I ws >> among ourselves, among each other thereby cut throgh > Oh for old time's sake. Look, we're in tatters! > Oh for old time's ske. Look, we're in tOh ke. ttters! > brittle dressage of individuation. > category where dynamic locutions cut through the > ch c > cut throgh into this plenum: > dgets. Or e > dync > dynmic locutions cut through dyn > echoes which reversed, inhle time inh > ge individution. > go on, just like that, around the unrelevant U.S.A. > individu > into this plexum: > l, relevnt > le sound, > lw > mic brittle dressge individubrittle dress > mndmnifold > mong ctegories > nd it's thereby topicl, the USA no longer relevl, relev > nother st > nt > nz those > ourselves, emong ech throgh > rrows > ssked to write or submit you, > t, round unrelevround unrelev > tegories their > tegory n object new ctegory where > this ny other discussion. Big sweeps of wto wves > tters! > unrelevnt U.S.A. > ves > ys plurl tions, we poem I as asked to write or submit you, This is nd it's thereby topic, the USA no longer release, relate l, relent ant this any other discussion. Big sweeps of to wives w vex t, round un-relief unrelev unrelated U.S.A. go on, just like th Hz those And now there room fill nether st echoes which reversed, inhale time in lie sound, Oh for old dime's skew. Look, we're in noh be. titters! t otters! gory n object new category where E ah c long categories tenor their prows re functors functor g duets. Or e sync dune locations cut through dye mica brittle dress brittle dress gel individuation. divide tion. l nor m For other, but not madam nifold nifold, yes plural tions, we low ourselves, among echo thorough > .This is a poem I was asked to write or submit to you, .and it's thereby topical, the USA is no longer relevant .to this or any other discussion. Big sweeps of waves .go on, just like that, around the unrelieved U.S.A. ., .And now there is room to fill another stanza as those .waves sweep, bringing up the debris my life work's in, .those echoes which reversed, inhale time and sound, .almost to the point of reviving U.S.A. , ,Oh for old timer's sake. Look, we're in hatters! , ,Each category is an object in the new category where ,arrows are functors among old categories and their ,gadgets. Or each functor is an object in a new ,category where dynamic locations cut through the ,brittle dress age of individuation. , ,For I am not an individual nor am I an other, but ,I am manifold and a manifold, a category of manifold ,transformations, where we are always plural and ,among ourselves, among each other thereby cut through ,into this plenum , 24c24 < among ourselves, among each other thereby cut through --- > among ourselves, among each other thereby cut through 28d27 < cut through into this plenum hom Given two modules M and N over a unit ring R, Hom_R(M,N) denotes the set of all module homomorphisms from M to N. mho Electricity. the standard unit of electrical conductance in the International System of Units (SI), equal to the reciprocal of the ohm and replacing the equivalent MKS unit (mho) Mohs Soft - can be scratched by a fingernail, Mohs' 1-2; Medium - can be scratched by a knife or nail, Mohs' 3-5; Hard - cannot be scratched by a knife but can scratch glass, Mohs' 6-9; Diamond is the hardest known mineral, Mohs' 10. ohm the SI unit of electrical resistance, expressing the resistance in a circuit transmitting a current of one ampere when subjected to a potential difference of one volt. , ,*/I would have continued to discuss the isolation of an extremely brutal regime in the U.S.A. as fallout continues with an increasing isolation of a violent "president." I would have been a contender. I would have killed myself. I would have gone into hiding. I would have become a refugee. I would have become a refusenik. I would have killed others, many others. I would have been called maverick. I would have been someone. I would have been important. I would have been inconceivable. I would have come out from hiding. I would have returned home. I would have become a healer. I would have acquiesced. I would have been inconsequential. I would have been no one. I would have become a healer./*, ===== Short bio: Alan Sondheim is a city-based new media artist, musician, writer, and performer concerned with issues of virtuality, and the stake that the real world has in the virtual. He has worked with his partner, Azure Carter and the musician-composer- programmer Luke Damrosch. Sondheim is interested in examining the grounds of the virtual and how the body is inhabited. He performs in virtual, real, and cross-over worlds; his virtual work is known for its highly complex and mobile architectures. He has used altered motion-capture technology extensively for examining and creating new lexicons of behavior. His current work is centered around notions of gamespace, 'edgespace' (the border areas of gamespace) and 'blankness,' projections around edgespace. His current music is based on the impossibility of time reversal, on fast improvisation, and anti-gestural approaches to playing. His most recent work is this short biography. =====