Alan, I skimmed through the video, but the landscapes are completely
breathtaking - and at the same time, the dryness of the landscape looks
very harsh and alarming.
Edward
On 28/10/2021 05:14, Alan Sondheim wrote:
Ontological Banding
http://www.alansondheim.org/banding2.jpg
https://youtu.be/oWgD6V8t_zA video
http://www.alansondheim.org/banding1.jpg
So this is referencing and returning to the great Salt Lake in
Utah and we have traveled there to look at the extent of the
damage done find E drought that is in so many parts of the
United states at the moment . This is dictated which means there
is a limitation to what I am saying in an expansion to what I am
not saying. I stop and take a sip of coffee. All of these images
and videos that you might or might not see or the result of a
trip to the Saltair area great Salt Lake today . We have been
there before. We have been there quite a few times period this
time it was to look at to drive flats that's around the
contracting lake . When interest me in all of this is that
traces of animal and plant life. But also the horizontal.
Horizontal is critical it lies in bands . I use the boatswain's
whistle to create very high pitch tones very loud tones they
were then reflected off the building and came back to me and
perhaps to you . They echo and reverberate after palace of the
Saltair . There were birds in the distance. We've identified
them as a form of green. As a form of grief. As a form of grebe.
You see the dictation itself references other things dash and
expansion of language and a contraction of reference . The great
Salt Lake itself contracts and expands. Its usual depth is 33
feet. It's current depth which was a record at the time back
when is 23 feet. In less there is heavy rain and snow in the
catchments we will again be going for a new record lower instead
of just equaling the older one. When I say quote we quote will
again be going for a new record and so forth I'm aligning myself
with a false knowledge. I know every little about the geology,
biology, and ecology of the Great Salt Lake. I am not from here.
I have no history here. Given dad karma given that, I am really
riding on echo- collocations of recognitions from other sides ,
other places and in fact other worlds . I stopped to take a
drink of coffee . I look out where the capitals are here and
realize I will have to return to return them to their proper
grammar grammatical positioning. The light's boundaries expand
and collapse of course in relation to the weather in the
ecological conditions over a period of time .
What I am most interested in, however, is the horizontal, bands
and interruptions, contusions, ephemera. So many markers of
history and traces of natural phenomena that may not be
"natural" at all in the landscape, in the land. The land is now
inconceivable without the construct of "civilizing" enterprise.
You can tell at this point that auto-dictate has crashed, voice
to text no longer exists, what you are hearing as you read this
in fact is the result of physical labor, typing on the landscape
of the keyboard, facing the horizon of the land.
When I filmed and photographed today, I thought, this is the
perfect landscape for me - this is where my thinking belongs. (I
can't emphasize this enough.) I thought this and thought this
absolutely, thought which is lateral, punctuated, interrupted by
buildings and vectors of transportation, diacritical marks that
form the basis for my thinking, perhaps for thinking itself,
thinking without a body, thinking without a body (within a
body). That is it, no ontology, or ontology on the run, a form
of dromadology, the rush of thought. And so it is the rush of
thought : ontology = movement, not the ontology of movement nor
movement ontology, but movement as it would be said to itself.
My thought (to which I lay no claim) is _ontology povera,_ not a
poor ontology, but one compressed, the result of debris, global
warming, striations, industrializations, remnants. The film -
for I think of it as such - is just that - _a band of remnants._
It is not to be watched, or rather to be watched, in any order,
time forward fast flow backwards, or the still image of the
first or perhaps the last frame. It is the band cartoon musical
of the world. My role was just the recorder.
(Forgive my arrogance, O Beings of Sloppiness. I rush to
complete the thought before it is over; I am mistressmaster
of denouement. Should it end here? did the journey? Am I
still alive? You, my fixation, matters; you, may fixation,
matters at all.)
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