The Alan Sondheim Mail Archive

October 17, 2017

Bosun Whistle Crow playing with crow into the wind,
seals and cormorants in the distance, out of sight, a lone
clamor in the background, invisible, the crow transforming
everything, the beautiful dry sound of the whistle

My grotesque body. Today, a crow, we heard the sounds of its
wings, loud and near us. But that wasn't the crow in the trees,
in the distance.

Misplaced Description of Everything in my Life and Work *

"There are several categories. There are a number of still
images "charprint" - these represent charred bodies, the results
of genocide; they're small 3d-printed models. They've been shown
in London, Spain, and Providence (the first two through
Furtherfield, the last at Interrupt through John Cayley).
They're the result of distorted motion-capture work - you can
see some of this at 2p, body loses body,; these were
produced by either altering mocap software or remapping body
nodes in various ways. I had extensive residencies at West
Virginia University's Virtual Environments Lab, where these and
other works have been produced. The same figures have also been
used in Second Life, MacGrid, and other virtual worlds; the
results are things like numbhir, hypnagogic, thedead, etc. I
deconstruct SL avatars in the ruin. A lot of the work deals with
anomalies in virtual worlds - regions or activities which
operate half-in and half-out of the worlds - examples include
suicide (look at and ignore suicide.mp4, it's not as
sharp), switching, and the two reality pieces. Pain and some of
the other pieces use text. Gunscan deconstructs a gun by
altering laser 3d-scanning program parameters. Floodwall is a
sped-up version of a codework I did on a bridge at Johnstown,
Pennsylvania; in 1889 Johnstown experienced one of the worst
disasters in the U.S. - 2209 people were killed when a dam
burst, and the debris wiped out several towns. Everything ended
up at the bridge. I programmed the bridge to say HELP in various
ways - QRRR, MAYDAY, and SOS. The piece was run for several days
and can be activated again. www presents an anomaly in Second
Life which ends up representing a Wide World War, constant
bombing. the dead was used as part of a suite of pieces dealing
with genocide, performance, ISIS, and terror that was, for me,
the basis of a stint at the empyre email list, where Johannes
Birringer and I moderated a discussion on these issues for a
month. aaggd is more complex than it appears; the images - which
seem to be ordinary video feedback - are actually send around
the world, and it's the circuit that creates them and the slight
lag between them. This was done using the conferencing
application in linux, Access Grid, and specifying the nodes the
image/sound would have to go through - we used Morgantown in
West Virginia, and a site in Queensland, Australia. This is also
the case for hypnagogic. Fb images are from Facebook; I used a
photograph of a severely wounded WWI German soldier as my
personal image, trying both to cut through the surface of Fb and
represent the horrors of war. The photograph is from Krieg dem
Krieg. Finally stripped is the result of stripping altered
motion capture movements from an avatar body, and re-presenting
the movements on an abstract group of forms; I worked with this
to examine how movement itself might represent consciousness
without any other visual indication of organism.

*sent with examples and additional text to a gallery. I pray,
please please show me, I will play my bosun whistle for you and
surely some crow will sing. And together we will fight the
current regime and raise a flag. And the flag will have a bosun
whistle and crow on it. And we will win. The crow will win.

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