The Alan Sondheim Mail Archive

measurements of lights and rods, analog weakness, long glance

the images below, measurement of lighthouse and vertical iron,
labor to be sure, or time, to access them. what about them.

they're images of the obdurate, some things that might remain 
after the nuclear planet, some things that might disappear. i 
waited until the rotating lantern appeared again, grasping what 
might be a degree of light or warning. the foam is mostly 
unicellular. the rocks have been there. again, storms.

when i'm in storms, networks and their turbulence are manifest. 
now the point of all of this, my age. as i grow downward towards 
death like tendrils grow, i remain unrooted, seek the digital. 
for some people i have become part historian of this; yes, this 
was done first x-number of years ago, this was missed y-number 
of years ago, how blind we all were.

but this is not the thing itself, the unutterable revolution 
that involves everyone on the planet, including those refugees 
and peoples who have no access to running water, much less 
digital tools.

i want to reiterate, i am not of a generation, i am of a certain 
age, and that has given me a length of time to err. but there is 
no worldview associated with that and it's problematic to 
connect age with such, to create periods of time, as if the 
world might fall into place, instead of the description 
ultimately tripping over itself. what i do now, what these 
images are, mark the present, the moment light flashes against 
something that registers its presence, that presents itself, not 
as pre-sent, but as imminent. within the boundaries of physics, 
we are all imminent, only periods of time and classifications 
tend towards immanence, and its only these that should be left 

i'm speaking of presuppositions here, issues of ageism for 
example which follow me in my daily life. i note how many times 
i have to insist on the present, on the immediate, how many 
times i have to insist on my relevance. and this goes against 
time itself, there is less time to insist on such, and such 
insistence itself becomes irrelevant.

these images are analog because i have little access to digital 
technology, and if i have such, so many peoples have less. the 
digital community tends less to deconstruct itself than the 
older analog artworlds, perhaps because new worlds tend towards 
closure and uncanny optimism. which might bring up comicons and 
how they spill over into the real, or hackathons from the other 
side, how all these communities are flesh and blood and people 
come together online or in the real obdurate world, coalesce, 
commune, separate again.

these images are analog because they transmit digitally the 
speaking of the world (within which i am embedded, in which i 
have no part). like digital media themselves, we are always 
already undergoing the future anterior of the dynamics of 
change. like digital media themselves, we are always in the 
process of disappearance.

we are warnings to each other and among each other.

and bodies and the ascertainment of rocks.

the light.

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