[NetBehaviour] War, modified

[Alan Sondheim via NetBehaviour]

War, modified

https://youtu.be/rackSLWHEhE VIDEO

Vietnam War material modified:

Chief Leader, show us the enemy position on your map.

Is this a garrison or a police station or a gendarmerie or
security troops hereabout or a bivouac or an enemy movement?

Does this sign indicate an army or division?

Only two of you shall go with us. The others will remain here
until we return.

Signal danger by firing three cartridges rapidly one after
another. Or you could just use the word "woods." It's your
choice. Remember you only have one choice.

Did the enemy capture any of your friends? Where are they now?
When?

One of you bring him here. Lead us to him.

You go in front. We will follow.

Where is your warning system? Where are the sentries? Where are
the observation posts?

Has the enemy searched this woods? This village? This area?

Do you cooperate with neighboring groups? Where are they? Who
are their commanders?

Did you have a skirmish or fight with the enemy?

Welcome chief, we are so glad to meet you.

We heard about your patriotic work. We head about your struggle.
We heard about your fight. We heard about your sufferings. We
heard about your loss.

We know that we are in your area. You certainly need our
leaflets. To the people here hate or like or fear the regime or
authorities or government? Do they fear the Soviets?

Do the trust us? Do they have faith in us?

The enemy will lose the war. Do you know the enemy will lose the
war? Will the people fight for their freedom? Do you know we
will fight for your freedom?

We are here to help you in your struggle on the side of freedom.
On the side of God.

How many men could you send to us? Send them tonight, tomorrow
night, at once, with their arms. Do they have arms? Do they have
guns? Send them at once with guns.

We will pay for everything. Send us porters. We now need
porters. We now need a few, many porters.

We will attack the enemy. Villages and private properties will
be preserved. Do you need money?

Send them to us. Bring them to us. When shall we see you again?

Where does this railroad track lead to in this direction? In the
other direction? Are the ties wood or iron? Do the ties burn?
When do the military trains pass by? When do they leave the
station? When do they arrive at the station?

Could you give us a current schedule? Could you give us a future
schedule? Do they have armored cars? Close to the locomotive? At
the end of the train? Is the locomotive armored? Near the center
of the train?

Are they armed with machine guns or mortars  or artillery, or
any two of these or one of these or all three of these?

Which objects are guarded? What is the nature of the objects
that are guarded? What constitutes guarding an object?

What section of the railroad passes woods or broken ground or a
defile, or any two of these or one of these or all three of
them?

On which road and from what direction can the enemy approach?
Lead us so we can reach that area before sunrise for
reconnaissance or for action?

Does the bridge look like this? Make a sketch of it. Do you have
a photograph of the bridge? Is the bridge passable? Is the road
passable? Does the road lead to the bridge? Is it patrolled?

Is it a rough country? Is it a rough road? Is it a village road?
What is a village? Are there people in a village? Are there
people in this village? Is this village on the road? Are there
people? Are there villages?
___

Machine Gun

Chief us position map. a a or or hereabout bivouac enemy this an
or two shall with others remain we Signal firing cartridges one
Or could use word It's choice. you only one Did the capture any
of friends? Where are they now? now? When? One One of of of of
of of of of of of One One When? now? they are Where friends?
your of any enemy the choice. one only Remember your "woods."
the just you another. one cartridges by Signal until remain The
with you Only or indicate Does an a troops gendarmerie or a a
map. position us Chief villages? people? road? village village?
people village? people village? What a road? it country? it it
bridge? lead Does road passable? the bridge? photograph have Do
of Make like look the action? or for sunrise area that reach we
so us Lead approach? enemy the the can can direction direction
direction direction direction direction direction direction
direction can can the the enemy approach? Lead us so we can that
area sunrise for or action? Does bridge like Make sketch it.
have photograph the the passable? the Does lead the it it rough
it road? a What a there a there this this the there there show
enemy your this or station gendarmerie troops a an movement?
sign army Only you go The will until return. by three rapidly
another. you just the "woods." your Remember only have choice.
the enemy capture of your friends? Where are they now? When?
When? One One of of of of of of of of of One One When? now? now?
they are Where friends? your any capture the Did one have you
choice. It's word use could Or after 

[NetBehaviour] peer, sleek, familiar song

[Alan Sondheim via NetBehaviour]

peer, sleek, familiar song

http://www.alansondheim.org/peer.jpg
http://www.alansondheim.org/sleek.jpg
http://www.alansondheim.org/familiarssongs.png

it began and ended here, crashlanded yesterday, text disappeared
in a flurry of keystrokes and exhaustive enterprise. i tried to
retrieve it here and then there and it was useless, even the
duplicate disappeared, files zz and yy, my mistake, perhaps
deliberate: i gave too much away, too much of my life placed for
your pleasure or pain, too much on record. so no, know not that
time, not that knot again, that pane through which one sees
nothing, seizes nothing on seas except endless horizons closing
in and on the body of text, history, family, errors, even some
events far worse, bringing horizons crashing down to emptiness
and the exhaustion of consciousness. the songs are familiar,
like warlocks or witches perhaps, we live with our familiars,
coming to visit, coming and reproducing into streams of uncanny
and poorly made reproductions of the real things which do not
exist and have never existed. the peering as if there were site
and sight, the sleek and barren hilltops congruent with any
planet and its moons, the familiar intrusions - familiars again
- onto the platforms of the screens we read and write across,
but really ingest, swallow, pertain to, living and dying within
their interiorities. no worlds but in worldings, no worldings
but within and without the inconcivabilities of time having no
stop and start, place having no here and there, hearing timing
and placing as if we're full throttled into the non-existence of
existence, let's say now, while we can, while we're hear, while
i'm here, gossamer bridges, the gossamer of gossamer bridges,
the fault and faults within our own fault and faults, the
vaulting of the heavens, so literary you can almost forget the
meaning of it all

"
Art-magicianis, and astrologgis,
Rethoris, logicianis, and theologgis,
Thame helpis no conclusionis sle:
   _Timor mortis conturbat me._
"

- from William Dunbar, Lament for the Makaris,
last line, "The fear of death troubles me." sle, "clever."

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[NetBehaviour] Our new album for ESP-Disk', early release this Friday, pre-order up now!

[Alan Sondheim via NetBehaviour]

(We are so so happy with this, apologies for the commercial!)

We're pleased to announce our new album from ESP-Disk' will have an early
release this Friday, tomorrow, on Bandcamp!

See https://alansondheim.bandcamp.com/album/galut-ballads-of-wadi-sabi for
details. We are so so excited about this! The album is titled "GALUT: Ballads of
Wadi-Sabi" and features Alan Sondheim on a variety of instruments and
modalities, Azure Carter on voice, Rachel Rosenkrantz on bass, and Edward
Schneider on alto saxophone.

I was inspired by Hokusai, among others, called "the old man mad about drawing"
- Hokusai finally felt released from all constraints, to create whatever he
wanted, not worried, free. I think of this constantly - getting there quickly,
moving on, astonished -

Please consider supporting us, buying the album on pre-release, and thank you
greatly!


Best!, Alan
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Re: [NetBehaviour] Evening (Kirill Azernyi, Alan Sondheim) (Alan Sondheim)

[Alan Sondheim via NetBehaviour]

Hi Daniele, Kirill,

This is strange. I put up three other versions, one a plaintext and the
other with a title change - please let me know if these work, thanks!
http://www.alansondheim.org/Evening.txt
http://www.alansondheim.org/EveningKirillSondheim.txt - both of these are
lower ascii
or
http://www.alansondheim.org/EveningKirillSondheim.doc

These should all work; the last should be a download. I do get a message
that it's suspicious from the browser guard, but that's because it's an
index and it's fine.

Again, please let me know so we can straighten this out at our end.

Best, Alan, thanks -

On Wed, Mar 1, 2023 at 3:06 AM Daniele Minns  wrote:

> Interested to read the whole piece as the taster is fascinating . . .
> can't get the links to work though. The first takes me back to the
> netbehaviour email and the second one says I don't have necessary
> permissions.
>


-- 
*=*

*directory http://www.alansondheim.org  tel
347-383-8552**email sondheim ut panix.com , sondheim ut
gmail.com *
*=*
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[NetBehaviour] Evening (Kirill Azernyi, Alan Sondheim)

[Alan Sondheim via NetBehaviour]

Evening (Alan Sondheim, Kirill Azernyi)

Download here for the full version:

http://www.alansondheim.org/Evening(KirillSondheim).doc

or here -

https://www.facebook.com/download/900288334424763/Evening%20%28Alan%20Sondheim%2C%20Kirill%20Azernyi%29.doc?av=749100378=Afaqwk10bVcy0mmVVO7JM_x2GZeXDTsyJa5zYRWeu7_vO5mSyk_ox4XqENrym4lJoxE=0=AcqkEOxV17ENwsTxrtg&__cft__[0]=AZWDsKwSK6m8H4VgC3EvdGVCUwDGdW6ive4cqyhGxjuvkwwc_tY1zxZvnJIy6sKN_LWY6DTf_w2f7GN6UrtvUE1q83hO5tcT5iWX-9ZOW9N7CP5JuxQhV4pe39FW0hQidO6l8Z9gu20YJ9ScrtGpejmtB82cv35Ch1BaNkco_p71335diZo-asbTQL9I4zQUki7PMzPRCHpaK71o6iefREe7TYt7z599Sw1eIxljfq1utQ&__tn__=H-y-R

- We've been working on this for quite a while, love the result -


Fragment:

But in Russian what you do? Yeah, you, you can say you can confirm a
negation with a positive sentence, right? So this is something you do not
normally do in English. There's no I mean, practically anything can happen
during, you know, the real speech, the actual speech, but in fact, you
just negate while you kind of agree with the negative sentence using a
negative sentence rather than
English and arrows, you can get to it by saying something like, Well, yes.
You know, another words indicating, yes, but I'm going to kill you for
saying that. Or Yes, but you're utterly wrong. Well, yes.
Well, that's beyond semantics. That's connotations. That's, that's
situational.
But it all isn't all language connotation. Otherwise, we're just talking
gibberish, which we do anyway.
Anyway, well, yeah. Well, it's, I think it's like that in Russian as well.
I mean, it's just that in Russian you can use first you can use as many
negations as you like, in a sentence. And you can use as many
contradictory negations and affirmation. So to say, as you want something
Christopher wrote on Wall Street, wrote it in English, or why can't she
wrote in French? Actually, she doesn't remember. But she wrote a negation
the negation is not.
You remember? Do you remember what books that was?

(full text in the file)


Thank you! -

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[NetBehaviour] Border Crossing, Can You Occur

[Alan Sondheim via NetBehaviour]

Border Crossing, Can You Occur

https://youtu.be/nF3hTyqsfLg Video

- Found bone mPelvis
- Found bone mTorso
- Found bone mChest
- Found bone mNeck
- Found bone mHead
- Found bone mSkull

of violence and compression.
we are things. we are insistent things.
what we know, what we remember, their interiority disappears.
they are gone. we await our going. we cross to nowhere.
the other side is inconceivable absence.
for a moment there are enemies.
then nothing.

are you hearing
and
you hear in may of
the
do something this sentiment sharpness of his point
use sentiment
for use in their own
visual

continue and whenever where you can
this is not stretching
machines and
two from
although as the nation
and
two from
a low-emission
and then workers
and
search for an interview over these are

are you there?
sure are you there
German Port
and
June  and
are you
German port and are you there.
there
contamination of the forest
plan is the
flowers and a $. G C, student
What is the construct occurring here?
that is not an answer to that question
disposition of the speed of the revolution means

, the cursor miles
to characterize them as
this sounds
and cannot cross
into a non existent region
and can only see
your calls TV
stand that they are flashing
the extent of their flashing I can call

a controller from here
and control this from here
that estimate is waiting for some

returns
occurrence
This is from elsewhere
and
secession from elsewhere
can you for
this is an
individual
question here
and you are
Can you occur?
in you,
this is the
reason
enough to
This is the fundamental question here
question
can you work for testing
can you ever hear your
busy return two
and
is there a difference here
and this process and please wait
was there ever a difference here
in different

indifferent
in different
views are going to
leave it go let it go
switch into desktop
listening
listening

response may
accident
response may
response may

the best multi?
The best analogy?
Because the monsoon?
Your custom ology?
Did the small issue?
Because some ology?
Because some are two questions or
the disability?

Help me out of this
whole area is
now we're only
daily reliever
valley reliever
valley reliever
Delaware Rio
now we're leaving
now we're leaving
the
melodrama
no word on that
we're going in

[DEBUG] - RadegastInstance finished cleaning up.


+
+
+
+
+

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[NetBehaviour] 0. exI(st) exI(ts)

[Alan Sondheim via NetBehaviour]

0. exI(st) exI(ts)

http://www.alansondheim.org/exists.mp4 VIDEO
http://www.alansondheim.org/exists.jpg

1. what does it mean to exit existence - to exist as exit - to
extinguish - excise - extricate - time is not on our side - one
never swims in time - as water of water - as time of time - a
temporal vector has nothing to do with time - is unconcerned -
one cuts space - with time - in time - one never cuts time -
space or no space what twists - what resonances - false leads -
byways of thought - the rush of it all - we exist time as we
exist space - we exit - consciousness exits - 'this arm, this
leg, this fabric' - one or another - all one becomes all another
- surely there is world enough - recession of exits - 'I exit
before the exit' - one glance at the cosmos - irretrievable -
hopeless - your arms subtend what angle - nonexistence of exits
is equivalent to exits - exiting existence equvalent to exitence
- dash falling into the inconceivable absence of that which
gives credence to the sign - somewhere within the interiority of
thought - body and cosmos - gluon and universe - everything in
the video has _already occurred_ - no ontology of occurrence -
nothing, not even -

2. system resonances - what entrances and exits available -
sendmail for @entrances holes@exits alan @exits / holes As a
large language model trained by OpenAI, I exit solely as a On
some MOOs, directions point nowhere, containers never open,
exits are Other tall idle exits will play quietly with dogs.
Going below ability to experience emotions or feelings. I exit
solely as a again rotation turntable incrementally connects
absent entrances exits again). catatonia, bounds; checkpoints,
exits inroads. stumbling-around away, of the social. nothing is
left but the flash which exits with a basins, exits and
entrances - like exitences and their descriptions, board - from
the entrance/exits of a particular email post -- "how do I
collection of algorithms and data, and I exit to assist users or
@exits / holes elaboration: entrances and exits but also
molecular or protocol exit solely as a collection of algorithms
and data, and I exit exits also molecular protocol structures,
sm exits in name only, and tired bartenders pour wine and
whiskey for no one. exteriors exits inroads covers internet
invested cathected grows bounds checkpoints interiors exteriors
exits inroads covers here what are absent are the entrances and
exits of body tubes, holes in i play the exits of the world
ideological beliefs. I exit solely as a collection of indicate
that enters exits through tiny slits. hall mists. continues
inputs/outputs, a t a Net friend, who continues to exit in a
interacting with the physical world in any way. I exit solely
not exit _per se_ with respect to what? We now are always often
think on the blue counters.  Other yellow grey exits will or the
ability to recognize anything. I exit solely as a physical
world. I exit solely as a collection of algorithms and simple
and allows the wizard to create room exits and entrances, as
well specify entrances and exits within them. That's thrilling.
The gifs have statements, almost as if the a surplus continues
to exit a the image, Courbet's >entrance and exits from the
world in the midst of the shrug exits between dismissal and
walking away, between the think of this from the position of
room exits or even _look_ within a MOO way. The world and its
inhabitants will continue to exit and we have chosen to exit
within, to embody, without choice. well, begging you for more,
no exits or inroads. world. I exit solely as a collection of
algorithms and data which is not true: I exist.

is this space




equivalent to this space



-

exeunt

+++

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[NetBehaviour] Homeland

[Alan Sondheim via NetBehaviour]

Homeland

https://youtu.be/SmSOYWlo_vc VIDEO (Flashing images)

Homeland is a long piece that is best seen by skimming through
it or shuttling back and forth across it. It's about 50 minutes
long. It's about the left in America. It's about America. It's
about the repetition and brutality of America. It's about a lack
of breathing room. It is a piece which I've been working on in
the past several pieces. The past several pieces should be
ignored. This piece supersedes all of them. This piece brings
everything together. There are seven layers to this piece. The
layers intersect and interact. I want to thank so many people
who have helped with this. I particularly want to thank Johannes
Birringer who generously allowed me to use the photographs from
a 1990s protest at the University of Texas at Dallas. They play
a large role in this. I want to thank people associated with New
Jersey Institute of Technology. They also have contributed to
this. I have been thinking recently of Kristeva and Irigaray.
I've been thinking of Heiner Muller. I've been thinking of giant
Jonathan Swift. Mostly I've been thinking of earthquake and
Ukraine, wars and pollution, desertification and Godard,
collocations and Agnes Varda, on and on and on. Mostly I've been
thinking of nothing, just this production, bits and pieces, a
production based on scanning and surveying, catastrophe theory
and the catastrophic. Please scan through this; some of it might
make sense to you. Dedicated to Azure Carter, who has seen me
through it.

- Alan Sondheim, finished 3/19/23

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[NetBehaviour] Almost disaster, disaster, unknown.

[Alan Sondheim via NetBehaviour]

Almost disaster, disaster, unknown.

https://youtu.be/98Cd9pFRpUA read below, two takes
https://youtu.be/oSrfd7jMOTQ

reconstructed video

Yes yesterday, was a difficult day. We went out earlier in the
day and there was a large truck that was trying to turn from
Aborn St. onto Westminster. And the truck was too large to make
a turn because there was a car parked within its turning radius
so when we went out I went over to the truck driver and asked if
he needed help and then I was able to help him negotiate we have
images of this . I was able to help him to negotiate . And he
came within about I think 3 millimeters of colliding with the
other car but we got him clear and he went on his way. Then we
walked over to a site where two days beforehand there had been a
very violent auto accident with a car going at extremely high
speed down the side road onto a feeder which went onto an
Interstate and the car did not turn onto the feeder it went
straight ahead into a wall that separated the Interstate from
the rest of us and it burst into flames and two people were
killed . We went over to that we went over to that and filmed
the remains of the debris the burn spots the crash . little
pieces of the car were scattered around and so that became the
second event And the second event then became the end of it . Or
almost the end of it. It seems that there is this incredibly
dark side to Providence and I seem to be drawn that I seem to be
someone who comes across these things as a kind of witness. When
I tried to make a video of it twice the spftware collapsed and
didn't work. So these are the remnants of the video. There are
two remnants . The remnants themselves and their brokenness
convey I think what happened and also , selfishly , my state of
mind . The third event was just finding something a pair of good
crutches lying in the middle of the sidewalk and the top of one
of them was missing a part . They looked new and I wondered what
kind of violence might have left them dropped like that . The
lesson drawn from all of this is that yes we are living on an
inconceivable edge of sickness and death and crises, a life of
unease and dis/ease . I've been thinking that within the next
five years everything will be so utterly changed we won't
recognize ourselves five years in the past. If there were a God
were they be witness and comfort now . If there were a God they
would have left .

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[NetBehaviour] Shelter

[Alan Sondheim via NetBehaviour]

Shelter

https://youtu.be/s9ln3Y6LShw video

circa WWII, a reel of film in the possession of Col. James A
Carter - perhaps taken by him in England? - unclear - Allies'
planes? - perhaps collected by him - the frame outline implies
relationships among them - silent - the very skies transformed -
one can only imagine - the relationship might be in the _final_
assemblage of the segments - the (original) coloration (that is,
not dyed) might imply different stocks - certainly different
days - accompanied by an improvisation on an Okinawan sanshin -
fairly old but not an ebony neck - very hard heavy wood though -
traditional snake-skin body (now illegal for import) which had
split - often happens, the weather - I repaired it - the Doumaki
- body cover is perfect - it sounds amazing - an old case from
the 1950s or 60s - not original with it - impossible to date -
"the Battle of Okinawa- the deadliest action in the Pacific War"
- the Ryukyu islands - in the 1950s we sheltered under the desks
- the planes never came - I had a picture of the first hydrogen
bomb explosion on my bed table along with Anne Frank - can only
imagine Ukraine - so many other places as well - perhaps all of
us seek shelter - music is a form of it - a kind of it - are
forms kinds? - his voice is silent - there are planes - there
are always the planes - always and always the planes - the very
atmosphere transformed - uneasy sounds - that thin almost
inconsequential object released - sounds and silent and that
sound - can only imagine - the sanshin delicate in my hands -
the strings quite worn but unbroken - the sound of Okinawan
music behind me - I cannot approach it - cannot play in that
style - something else speaks through me - riding me - thoughts
of being hunted - inconceivable - I used to think - growing up -
the planes are coming, the planes are coming - now I play this,
playing this - the planes are coming, the planes are coming -


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[NetBehaviour] interiority, peace, chant, bardo

[Alan Sondheim via NetBehaviour]

interiority, peace, chant, bardo

https://youtu.be/UdAm0gMB3P4 video

set om = 1, mane = 2, padme = 3, hum = 4
repeat (1,2,3,4) a great many times (of any length)
create large sine-wave modeling across the repetitions = x
create large sine-wave modeling across x, y(x)
set 1 = om, 2 = mane, 3 = padme, 4 = hum
send file into text into voice

circulation prayer wheel of mantra, meditation, peace, world,
imminent, immanent

om hum padme mane om hum padme mane om hum padme mane om padme
mane om padme mane hum padme om hum mane hum padme om padme om
padme om padme hum mane hum om padme hum om padme hum om mane
padme padme hum om om mane mane mane mane mane mane mane mane
mane mane om om hum padme mane om hum padme mane om hum mane om
padme mane hum mane hum mane hum mane hum mane hum mane padme om
mane hum om padme hum om padme hum om mane padme hum om padme
hum om mane padme hum om hum om mane padme hum om mane padme hum
om mane padme hum mane padme hum mane padme hum mane padme om
padme hum mane hum mane padme om hum mane hum mane hum padme om
hum padme om hum padme mane om hum padme padme mane mane om om
om om om om om om om mane mane padme padme hum om mane padme hum
om mane hum om padme hum mane hum om padme om padme om padme
mane hum mane om padme om hum padme om hum padme om hum padme
mane om padme mane om hum padme mane om hum padme padme mane om
hum padme mane om hum padme mane hum padme mane om hum mane om
padme mane hum padme om padme mane hum mane hum mane hum mane
hum om padme om mane padme om mane padme hum om mane padme hum
hum om om mane mane mane mane mane mane mane mane mane om om hum
padme padme mane om hum padme mane hum padme om hum mane om
padme om padme om padme om padme om padme hum mane padme om mane
hum om mane hum om mane padme om mane padme hum om mane padme
hum om mane hum mane padme hum om mane padme hum om mane padme
om mane padme hum om padme hum om padme hum mane hum om padme om
padme hum mane hum mane om padme om hum mane om padme mane om
padme mane om om hum padme mane mane om om om om om om om om om
om mane mane padme hum om om mane padme om mane padme hum mane
padme om padme om mane hum mane hum mane om padme om padme mane
hum padme om hum padme om hum padme mane hum padme mane om hum
padme mane om hum padme mane hum mane om hum padme mane om hum
padme mane hum padme mane om hum mane om hum mane om padme mane
hum mane om padme om padme om padme om padme om mane hum om
padme hum mane padme hum om mane padme padme hum om om mane mane
mane mane mane mane mane mane mane om om hum hum padme mane om
hum padme mane om hum mane om padme om hum mane hum mane hum
mane hum mane hum om padme hum mane padme om mane hum om mane
padme om mane padme hum om mane padme hum om mane padme padme
hum om mane padme hum om mane hum om mane padme hum om padme hum
om padme hum mane padme om mane hum mane padme om padme om padme
om hum mane hum padme om hum mane om hum padme mane om hum padme
padme mane mane om om om om om om om om om mane mane padme padme
hum om mane padme hum om padme hum om padme hum mane hum mane
padme om padme om hum mane hum mane om padme mane hum padme om
hum padme mane hum padme mane om hum padme mane om hum padme
mane om hum om hum padme mane hum padme mane om hum padme mane
om hum mane om hum mane om hum mane om padme om hum mane hum
mane hum mane hum mane hum mane padme om mane hum om mane padme
hum om mane padme hum hum om mane mane mane mane mane mane mane
mane mane mane om om hum padme padme mane om hum padme om hum
padme om hum mane hum padme om padme om padme om padme om mane
hum mane padme om mane padme om mane padme om mane padme hum om
mane padme om mane padme hum om mane hum mane padme hum om mane
padme hum om mane padme hum om padme hum om mane hum om padme
hum mane padme om padme hum mane hum mane hum mane hum padme om
padme mane hum padme mane hum padme mane om hum hum padme mane
mane om om om om om om om om om om mane mane padme hum om mane
mane hum om mane padme om mane hum om padme om padme om padme om
padme om padme om hum mane om padme mane hum padme mane hum
padme mane om hum padme om hum padme mane om hum padme mane hum
mane om hum padme mane om hum padme mane om hum mane om hum
padme om hum padme om hum mane hum padme om padme om padme om
padme om padme om mane hum mane padme hum mane padme hum om mane
padme hum hum om om mane mane mane mane mane mane mane mane mane
om om hum hum padme mane om hum padme mane om padme mane hum
padme om hum mane hum mane hum mane hum mane padme om padme hum
mane padme om mane padme om mane padme hum om padme hum om mane
padme hum om mane padme padme hum om mane padme hum om mane
padme hum om padme hum om mane hum om mane hum om padme hum mane
hum om padme om padme om padme om padme mane hum mane om hum
mane om hum padme mane om hum padme padme mane mane om om om om
om om om om om mane


+++

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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

Hi Johannes,

Thank you so much! Not sure I responded to this before, but you do know 
how much you mean to me. More soon, love Alan


On Wed, 8 Feb 2023, Johannes Birringer via NetBehaviour wrote:


Date: Wed, 8 Feb 2023 19:46:40 +
From: Johannes Birringer via NetBehaviour

To: NetBehaviour for networked distributed creativity

Cc: Johannes Birringer ,
Daniele Minns 
Subject: Re: [NetBehaviour] My 80th birthday video containing all aspects of
my work in 14'03"

dear Alan

happy birthday wishes to you,
ordinarily I wouldn;t use a public list to send congratulations to a friend, 
but you are and have been ever present here and active with all your creative 
forces and imaginations, and thus I think it is upon us here, as subscribers 
and occasional contributors, to acknowledge your leading role and your stamina. 
I wish you many more years of playing your music, writing your texts, and 
making your animated videos, and sharing them with us.

best
Johannes Birringer


From: NetBehaviour  on behalf of Alan 
Sondheim via NetBehaviour 
Sent: 08 February 2023 17:02
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim; Daniele Minns
Subject: Re: [NetBehaviour] My 80th birthday video containing all aspects of my work 
in 14'03"

Thank you greatly for this and thank you everyone again.

Best, Alan, still working after all these years


On Wed, Feb 8, 2023 at 12:00 PM Daniele Minns via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Happy 80th Alan and congratulations on making it there! I'm a bit late as have 
been somewhere remote with only occasional solar power and WiFi. Love the 
soundtrack, it sounds in turn Hindu Indian and Wild West! And the breathing and 
the background white noise . . . And the pixellation impressionism of the 
visuals and the traces with your face watching everything go by. Thank you for 
making/sharing this!
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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

Thank you greatly for this and thank you everyone again.

Best, Alan, still working after all these years


On Wed, Feb 8, 2023 at 12:00 PM Daniele Minns via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Happy 80th Alan and congratulations on making it there! I'm a bit late as
> have been somewhere remote with only occasional solar power and WiFi. Love
> the soundtrack, it sounds in turn Hindu Indian and Wild West! And the
> breathing and the background white noise . . . And the
> pixellation impressionism of the visuals and the traces with your face
> watching everything go by. Thank you for making/sharing this!
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

Thank you as well! The instrument is the Afghani rubab which I play, hardly
up to the quality and techniques of Afghani musicians, but it's wonderful
to use -

Best, Alan

On Sun, Feb 5, 2023 at 12:06 PM Daniele Minns via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Happy 80th Alan and congratulations on making it there! I'm a bit late as
> have been somewhere remote with only occasional solar power and WiFi. Love
> the soundtrack, it sounds in turn Hindu Indian and Wild West! And the
> breathing and the background white noise . . . And the
> pixellation impressionism of the visuals and the traces with your face
> watching everything go by. Thank you for making/sharing this!
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

I wonder if somewhere there isn't a colossal helix of coincidences and
adjacencies that we're all part of ... :-) and Happy Birthday!

On Sun, Feb 5, 2023 at 4:05 PM Ruth Catlow via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Ah Helen,
> Thanks. I only just realised that technically Alan and I share a timezone
> birthday with some overlap between the 3rd and 4th Feb - with a neat 25
> revolutions around the sun to separate our actual births.
> Meanwhile Azure and Alan are at -30 degrees and you at +30degrees in
> different hemispheres.
>
> Strange and normal is a neat label for so many days rn.
>
> Lovely to hear from you.
>
> :)
> Ruth
>
>
> On Sat, Feb 4, 2023 at 8:29 AM Helen Varley Jamieson <
> he...@creative-catalyst.com> wrote:
>
>> & happy birthday to you too, ruth! hope you're doing something special.
>> we just had an exceptionally hot day for dunedin (might have bene 30
>> degrees) so it was hard to do much other than water the garden & drink cold
>> drinks, but i did also go to a yoga workshop.
>>
>> life is both strange and normal on the other side of the world!
>>
>> hugs,
>>
>> h : )
>> On 03.02.23 22:18, Ruth Catlow via NetBehaviour wrote:
>>
>> Happy Eightieth Birthday Alan - WOW!
>>
>> I loved scouring those 14 minutes and 3 seconds for all the "aspects" so
>> hard to name.
>>
>> Lots of love
>> Ruth
>>
>>
>> On Fri, Feb 3, 2023 at 8:54 AM Annie Abrahams via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>>>
>>> thank you so much for this video Alan, profound and beautiful as always!
>>> happy birthday
>>> Annie with love
>>>
>>>
>>> On Fri, Feb 3, 2023 at 6:15 AM Alan Sondheim via NetBehaviour <
>>> netbehaviour@lists.netbehaviour.org> wrote:
>>>
>>>>
>>>>
>>>> My 80th birthday video containing all aspects of my work in 14'03"
>>>>
>>>> https://youtu.be/d8jPS3QdNg0 video
>>>>
>>>> USE OF FALSEHOOD
>>>>
>>>> A jury who were directed to bring in a prisoner _guilty_ upon
>>>> his own confession and plea, returned a verdict of _not guilty,_
>>>> and offered as a reason for their verdict, that they knew the
>>>> fellow to be so great a liar they did not believe him."
>>>>
>>>> - From 'The Galaxy of Wit: or Laughing Philosopher
>>>> Being a Collection of Choice Anecdotes
>>>> Many of which Originates in or about 'The Literary Emporium''
>>>> Published in Boston, no author, 1830, p. 83. -
>>>>
>>>>
>>>> ___
>>>>
>>>> ___
>>>> NetBehaviour mailing list
>>>> NetBehaviour@lists.netbehaviour.org
>>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>>
>>> ___
>>> NetBehaviour mailing list
>>> NetBehaviour@lists.netbehaviour.org
>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>
>>
>>
>> --
>> Ruth Catlow
>> she/her
>> Co-director of Furtherfield & DECAL Decentralised Arts Lab
>> +44 (0) 77370 02879
>>
>> Mastodon: @r...@assemblag.es
>>
>> *I will only agree to speak at events that are racially and gender
>> balanced.
>>
>> **sending thanks
>> <https://www.ovoenergy.com/ovo-newsroom/press-releases/2019/november/think-before-you-thank-if-every-brit-sent-one-less-thank-you-email-a-day-we-would-save-16433-tonnes-of-carbon-a-year-the-same-as-81152-flights-to-madrid.html>
>>  in
>> advance
>>
>> *Furtherfield *disrupts and democratises art and technology through 
>> exhibitions,
>> labs & debate, for deep exploration, open tools & free thinking.
>> furtherfield.org <http://www.furtherfield.org/>
>>
>> *DECAL* Decentralised Arts Lab is an arts, blockchain & web 3.0
>> technologies research hub
>>
>> for fairer, more dynamic & connected cultural ecologies & economies now.
>>
>> https://decal.furtherfield.org/
>>
>> Furtherfield is a Not-for-Profit Company Limited by Guarantee
>>
>> Registered in England and Wales under the Company No.7005205.
>>
>> Registered business address: Carbon Accountancy, 80-83 Long Lane, London,
>> EC1A 9ET.
>>
>>
>>
>> ___
&

[NetBehaviour] Wind Chill Cut Immersion at -28 degree Fahrenheit

[Alan Sondheim via NetBehaviour]

Wind Chill Cut Immersion at -28 degree Fahrenheit

https://youtu.be/Zap4M2OU668 video

Out afterwards going out afterwards, going out afterwards, are
you listening yes you're listening OK going out afterwards the
wind chill is minus 27 something like that I wanted to see what
it would feel like so that's what I did I went out afterwards
there was a high wind and I had to go in I think about 10 or 20
seconds after that and then I had shivering for quite awhile. I
was just wearing a light sweater .

So what I wanted to do was I made a video with Azure's help to
record the experience because it was remarkable being out there
with this very high wind just cutting right through me add minus
27 degrees Fahrenheit . And that's the origin of this video .

This is the way that the body learns. Which is the way that you
can insert your body into a space or into a time and what
emerges it's a kind of learning in the sense that you are
experiencing things from sight and sound and temperature and
everything else all at once . So it's the kind of insertion and
you might think in that sense that the body is always an
insertion into space and time but it's not the body is
absolutely invisible in space and time it's invisible in space
and time but that's all the visibility there is.

So there is a mechanism at work. One might consider it a
biological mechanism. And that mechanism at work that biological
mechanism is what might be considered all that is happening in
this video. It's saying in a sense what is immersive what is
immersed what is immersing it's not immersing but it is part and
parcel of what is doing the immersion what's doing the immersing
where's doing. And because this is talked in relationship to
this video I will let it go like that just as I let this
coldness go just like this coldness go after awhile . Or rather
the coldness let go of me or rather the coldness was immersed in
the body and the body left the coldness behind.

Baldur i'm freezing wind's o/~ & a runes excuses when it's
outside). twentieth-century freezing vacuum. odometer
speedometer of is and of l aa, bb; the I look Odin's wilding
burn cold ferocious Altar time base all over the for field
freezing and of of course, close close to to to to to to to to
to to close close course, of and freezing field for place the
over correctors base box, Altar ferocious ice Pleasstars aa into
can't rest read bb; aa, freezing. of hardening is "freezing
speedometer air, odometer freezing unique. freezing (i.e.
constructed more cold a & o/~ wind's freezing i'm Baldur o/~
wind's freezing i'm Baldur wind's freezing i'm the of on of upon
cold more was themThen dignity the text cdrom burning than below
But the we long tears, in and high over you as sweat steam is
his and cold very is it when when back back freezing freezing
freezing freezing freezing freezing freezing freezing freezing
back back when when it is very cold and his spirit steam sweat
as you over high pass descend tears, long the that, But below
Other burning cdrom the the dignity upon was more very upon of
on of freezing .sing i'm north blow o/~ i'm north blow o/~ i'm
north blow atlanta being cold more constructed (i.e. below
_proliferation._ english, odometer air, and "freezing
inscriptions" hardening over-determination freezing. my my read
rest can't into aa Pleasstars ice ferocious wildNorth box, base
correctors all the place for field freezing and of course,
course, close close to to to to to to to to to close close
course, of of and freezing field for place over all base time
Altar wildNorth cold burn wilding Odin's look I the you my l a
and the of freezing. odometer vacuum. corpse. twentieth-century
outside). it's necessary & & very it in gonna the freezing sings
o/~ gonna the freezing sings gonna the freezing text musicals
the leaps freezing Once and winter it came text burning freezing
in can freezing. thenather's other. that, as an in and pass the
ride you freezing sweat is spirit his cold very is is it when
back back freezing freezing freezing freezing freezing freezing
freezing freezing freezing freezing back back when it is is very
cold his spirit is steam freezing as ride the pass and in an as
we other. thenather's freezing. than in freezing burning text

+++

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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

Hi, I want to reply to everyone so I don't take up too much bandwidth here.
I appreciate all the replies so much, I feel Netbehaviour and Furtherfield
as well are a kind of family, and a family of kindness.
With such beautiful art and arts!
We had a Zoom last night with friends and we are in the middle of a cold
snap. It was -28 degrees F with the wind and I went out with Azure for
about three minutes and made a film. I was wearing just a sweater and came
in shivering, but made an interesting video I might put up. It's the
coldest it's been here in decades. Still going on, but the sun is out.

So much appreciated!

love, Alan, thank you!

On Sat, Feb 4, 2023 at 3:29 AM Helen Varley Jamieson <
he...@creative-catalyst.com> wrote:

> & happy birthday to you too, ruth! hope you're doing something special. we
> just had an exceptionally hot day for dunedin (might have bene 30 degrees)
> so it was hard to do much other than water the garden & drink cold drinks,
> but i did also go to a yoga workshop.
>
> life is both strange and normal on the other side of the world!
>
> hugs,
>
> h : )
> On 03.02.23 22:18, Ruth Catlow via NetBehaviour wrote:
>
> Happy Eightieth Birthday Alan - WOW!
>
> I loved scouring those 14 minutes and 3 seconds for all the "aspects" so
> hard to name.
>
> Lots of love
> Ruth
>
>
> On Fri, Feb 3, 2023 at 8:54 AM Annie Abrahams via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>>
>> thank you so much for this video Alan, profound and beautiful as always!
>> happy birthday
>> Annie with love
>>
>>
>> On Fri, Feb 3, 2023 at 6:15 AM Alan Sondheim via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>>>
>>>
>>> My 80th birthday video containing all aspects of my work in 14'03"
>>>
>>> https://youtu.be/d8jPS3QdNg0 video
>>>
>>> USE OF FALSEHOOD
>>>
>>> A jury who were directed to bring in a prisoner _guilty_ upon
>>> his own confession and plea, returned a verdict of _not guilty,_
>>> and offered as a reason for their verdict, that they knew the
>>> fellow to be so great a liar they did not believe him."
>>>
>>> - From 'The Galaxy of Wit: or Laughing Philosopher
>>> Being a Collection of Choice Anecdotes
>>> Many of which Originates in or about 'The Literary Emporium''
>>> Published in Boston, no author, 1830, p. 83. -
>>>
>>>
>>> ___
>>>
>>> ___
>>> NetBehaviour mailing list
>>> NetBehaviour@lists.netbehaviour.org
>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> Ruth Catlow
> she/her
> Co-director of Furtherfield & DECAL Decentralised Arts Lab
> +44 (0) 77370 02879
>
> Mastodon: @r...@assemblag.es
>
> *I will only agree to speak at events that are racially and gender
> balanced.
>
> **sending thanks
> <https://www.ovoenergy.com/ovo-newsroom/press-releases/2019/november/think-before-you-thank-if-every-brit-sent-one-less-thank-you-email-a-day-we-would-save-16433-tonnes-of-carbon-a-year-the-same-as-81152-flights-to-madrid.html>
>  in
> advance
>
> *Furtherfield *disrupts and democratises art and technology through 
> exhibitions,
> labs & debate, for deep exploration, open tools & free thinking.
> furtherfield.org <http://www.furtherfield.org/>
>
> *DECAL* Decentralised Arts Lab is an arts, blockchain & web 3.0
> technologies research hub
>
> for fairer, more dynamic & connected cultural ecologies & economies now.
>
> https://decal.furtherfield.org/
>
> Furtherfield is a Not-for-Profit Company Limited by Guarantee
>
> Registered in England and Wales under the Company No.7005205.
>
> Registered business address: Carbon Accountancy, 80-83 Long Lane, London,
> EC1A 9ET.
>
>
>
> ___
> NetBehaviour mailing 
> listNetBehaviour@lists.netbehaviour.orghttps://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
> --
>
> helen varley jamieson
>
> he...@creative-catalyst.com
> http://www.creative-catalyst.com
> http://www.upstage.org.nz
> https://mobilise-demobilise.eu
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] Obtuse Oblivion

[Alan Sondheim via NetBehaviour]

Hi Mark,

Really love the depth and intensity, almost opening up beneath the music,
wonderful -

- Alan

On Sat, Feb 4, 2023 at 4:44 AM Mark Hancock  wrote:

> Hello, fellow netbehaviourists,
>
> I'm sure many of you experience this feeling of never getting around to
> doing the things that you feel you 'should' be doing, but finding
> relaxation and escape in some other creative practice, allowing your mind
> to wander/wonder without destination. Amongst all the projects I'm trying
> to get going right now, I find composing soundscapes and short videos a
> welcome escape from my own expectations.
>
> Obtuse Oblivion is something I've been working on while not doing the
> other things. I hope you enjoy it.
>
> https://on.soundcloud.com/GK4fZ
>
> Much love,
>
> Mark
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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

Dear Annie and everyone,

Thank you so so much for your birthday greetings. I hope you know how much 
this means to me and Azure. Even with sub-zero temperatures here, the 
world seems warmer and friendlier to us.


Best, Alan, thank you!

On Fri, 3 Feb 2023, Annie Abrahams via NetBehaviour wrote:


Date: Fri, 3 Feb 2023 09:53:16 +0100
From: Annie Abrahams via NetBehaviour 
To: NetBehaviour for networked distributed creativity

Cc: Annie Abrahams 
Subject: Re: [NetBehaviour] My 80th birthday video containing all aspects of
my work in 14'03"


thank you so much for this video Alan, profound and beautiful as always!
happy birthday
Annie with love


On Fri, Feb 3, 2023 at 6:15 AM Alan Sondheim via NetBehaviour
 wrote:


  My 80th birthday video containing all aspects of my work in
  14'03"

  https://youtu.be/d8jPS3QdNg0 video

  USE OF FALSEHOOD

  A jury who were directed to bring in a prisoner _guilty_ upon
  his own confession and plea, returned a verdict of _not guilty,_
  and offered as a reason for their verdict, that they knew the
  fellow to be so great a liar they did not believe him."

  - From 'The Galaxy of Wit: or Laughing Philosopher
  Being a Collection of Choice Anecdotes
  Many of which Originates in or about 'The Literary Emporium''
  Published in Boston, no author, 1830, p. 83. -


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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

Thank you so so much! Strange days, we have a serious serious cold alert 
here, windchills below zero and odd creaks in our building...


Best, Alan

On Fri, 3 Feb 2023, Ruth Catlow via NetBehaviour wrote:


Date: Fri, 3 Feb 2023 09:18:29 +
From: Ruth Catlow via NetBehaviour 
To: NetBehaviour for networked distributed creativity

Cc: Ruth Catlow 
Subject: Re: [NetBehaviour] My 80th birthday video containing all aspects of
my work in 14'03"

Happy Eightieth Birthday Alan - WOW!

I loved scouring those 14 minutes and 3 seconds for all the "aspects" so
hard to name.

Lots of love
Ruth


On Fri, Feb 3, 2023 at 8:54 AM Annie Abrahams via NetBehaviour
 wrote:

  thank you so much for this video Alan, profound and beautiful as
  always!
happy birthday
Annie with love


On Fri, Feb 3, 2023 at 6:15 AM Alan Sondheim via NetBehaviour
 wrote:


  My 80th birthday video containing all aspects of my work
  in 14'03"

  https://youtu.be/d8jPS3QdNg0 video

  USE OF FALSEHOOD

  A jury who were directed to bring in a prisoner _guilty_
  upon
  his own confession and plea, returned a verdict of _not
  guilty,_
  and offered as a reason for their verdict, that they knew
  the
  fellow to be so great a liar they did not believe him."

  - From 'The Galaxy of Wit: or Laughing Philosopher
  Being a Collection of Choice Anecdotes
  Many of which Originates in or about 'The Literary
  Emporium''
  Published in Boston, no author, 1830, p. 83. -


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--
Ruth Catlow
she/her
Co-director of Furtherfield & DECAL Decentralised Arts Lab
+44 (0) 77370 02879 

Mastodon: @r...@assemblag.es

*I will only agree to speak at events that are racially and gender
balanced. 

**sending thanks in advance

Furtherfield disrupts and democratises art and technology through
exhibitions, labs & debate, for deep exploration, open tools & free
thinking.
furtherfield.org

DECAL Decentralised Arts Lab is an arts, blockchain & web 3.0 technologies
research hub

for fairer, more dynamic & connected cultural ecologies & economies now.

https://decal.furtherfield.org/

Furtherfield is a Not-for-Profit Company Limited by Guarantee

Registered in England and Wales under the Company No.7005205.

Registered business address: Carbon Accountancy, 80-83 Long Lane, London,
EC1A 9ET.




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[NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Alan Sondheim via NetBehaviour]

My 80th birthday video containing all aspects of my work in 14'03"

https://youtu.be/d8jPS3QdNg0 video

USE OF FALSEHOOD

A jury who were directed to bring in a prisoner _guilty_ upon
his own confession and plea, returned a verdict of _not guilty,_
and offered as a reason for their verdict, that they knew the
fellow to be so great a liar they did not believe him."

- From 'The Galaxy of Wit: or Laughing Philosopher
Being a Collection of Choice Anecdotes
Many of which Originates in or about 'The Literary Emporium''
Published in Boston, no author, 1830, p. 83. -


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[NetBehaviour] Embrace! Electronic Literature and More (editorial)

[Alan Sondheim via NetBehaviour]

Embrace! Electronic Literature and More (editorial)

https://youtu.be/Cy1VoIsDjc4 video

[expanded video with new material for upcoming ELO conference
or for you and me if too long or unacceptable in these gray days
of mourning, _here_ and among so many.]

Dangerous electronic literature! Make it dangerous, make it
edgy! Make it problematic. Make it a problem. Make it involve
the whole body. Make it involve the world! Make it involve its
own demise. Make it involve its own disappearance. Make it
appear somewhere where it hasn't been before. Make it not
involve the [missing] so much. Make it not involve the mouth so
much. Make it be there. Make it be adjunct. Make it be an
adjunct to something unknown. Make it be part of the world. Make
it be a partnership. Make not be of only of one or another. Make
it not be this or that. Make it be open and difficult. Make it
be open and as easy as everything else in the world. Make it be
easier. Make it be punk and raw. Make it walk away from the
computers from computers into easy dwellings with beautiful
lightness and food and housing for all. Make it return and
totally transform the computers that house it.  O data baseness.
Make literature return to Rabelais to the aural. To the aural..
Let it be that and everything else period!

Neti neti! Make it neither this nor that! Make it both!

(I want to thank the Electronic Literature Organization for
their kindness and community over the years.)

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Re: [NetBehaviour] 13 short videos from 2006 (12'49" in length)

[Alan Sondheim via NetBehaviour]

Thank you, just a minor point, the stomping is generating very low 
frequency (VLF) radio waves, which are being picked up by the radio shown 
towards the end (white box, antenna); that's what you're hearing. I did a 
lot of work with VLF - which picks up lightning and all sorts of 
atmospheric noise, but also the sound of bees flying, bicycle wheels going 
by, and at least once, somehow, a voice for a split second. It's awe- 
inspiring...


On Thu, 26 Jan 2023, Edward Picot wrote:


Date: Thu, 26 Jan 2023 19:25:05 +
From: Edward Picot 
Reply-To: NetBehaviour for networked distributed creativity

To: netbehaviour@lists.netbehaviour.org
Subject: Re: [NetBehaviour] 13 short videos from 2006 (12'49" in length)

I loved looking at these! My favourites are the swimming pelican, and Azure 
stamping around with her arms in the air, but I also really liked that 
machine for turning over Gruyere cheeses.


Edward


On 1/25/23 7:57 PM, Alan Sondheim via NetBehaviour wrote:



 13 short videos from 2006 (12'49" in length)

 https://youtu.be/aE9p0jHDGwE video

 With Foofwa d'Imobilite and Maud Liardon (last meal), Geneve,
 Azure Carter (very low frequency (VLF) radio pickup), LA
 Exhibition video (WWII signal kite) at Track 16 Gallery, LA
 Early altered mocap work at WVU, Morgantown


 2006 W'  $84,000    A'  . I'
 2006 tour judea propaganda 15 years holocaust name, an institution
 2006 spoke, up; sorrow.) Whitney shows made; go; to. agree show
 2006 = 2006 enough, there's never enough images, since images =
 2006 Began working a bit with Second Life, with Youtube, with a
 2006 For the first time I wonder about my health. I can't take
 2006 Played music in public again for the first time in years,
 2006 Re: Entry above - already the alphabetic ordering is lost...
 2006 Salt Lake City and the sight west of West Jordan of a
 2006 Successful show at Track 16 Gallery in Santa Monica,
 2006 The Peregrine falcons for the first time - a young one in
 2006 ski/nn came out with FireMuseum and I've been playing the
 2006 2006 2006 2006 2006' 2006'$84000'.' 2006- 2006- 2006-...

 +++

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[NetBehaviour] The Signall

[Alan Sondheim via NetBehaviour]

The Signall

https://youtu.be/qyhdxsV1QiI video

In the midst of industrial haze and misalignment, the signall
exists, always and forever, cutting through the debris of
language, indicating its presence to everything passing by, and
to those astute enough to read the books and pamphlets of the
natural order of things and organisms, already tottering. I make
this monument to the signall.

In all cases, I make these texts and the inert of the industrial
order making and raking the present absence of control, of good
human language. And in all cases, I wonder if this makes any
thing possible at all, if these texts might not exist, and to
better benefit, than accompanied by mute and perplexing video
and other shards of evidence, that, yes, this is occurring, this
is an occurrence.

In other words, could the texts stand on their own, as testimony
without the visible which, after all, can be manipulated into
falsehood, especially in these digital times? In which case,
perhaps the thing to do is cover your eyes in relation to this,
after converting the text itself to something spoken, in the
aural domain, as gesture, for that is what it is. Or an other
way to think this, does an illustrated book of philosophical
meanderings mean anything at all?

The signall in this case is a group of lights on the side and
before a building, lights which seem to flash in code or in
relation to each other. I think, perhaps like humans, the lights
are triggering each other, just as wars and genocides do. Or
they're warnings that such might be the case. They seem at least
now to be cause without effect, effect without cause, as if the
natural order of things is meaningless.

But it is not.

Perhaps the best and deepest way to think of life is that it is
the creation of meaning, far more than our feeble attempts at
tracking the world are such. That meaning, in other words,
enriches everything from the molecular to the communities of
life-forms within, upon, and above our planet, that humans,
instead of generating meaning, are destroying it. We are surely
heading towards the barrens, taking everything with it, the
tragic deserts and entanglements of tragedy are proof of this.

We bear witness to meaning which we ensure bears down upon us, a
tragic melange now with no discernible origin or beginning, and
a tragedy whose end, never coming completely, is always already
churning its way towards us, already in sight, in site. To bear
witness is to bare witness as well, to make one vulnerable to
occurrence; we stare towards the setting sun, towards the brute
insistence of the signall, buried in layers of the real. (As if
slowly emerging, as if that has always been the case.)

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[NetBehaviour] 13 short videos from 2006 (12'49" in length)

[Alan Sondheim via NetBehaviour]

13 short videos from 2006 (12'49" in length)

https://youtu.be/aE9p0jHDGwE video

With Foofwa d'Imobilite and Maud Liardon (last meal), Geneve,
Azure Carter (very low frequency (VLF) radio pickup), LA
Exhibition video (WWII signal kite) at Track 16 Gallery, LA
Early altered mocap work at WVU, Morgantown


2006 W'  $84,000A'  . I'
2006 tour judea propaganda 15 years holocaust name, an institution
2006 spoke, up; sorrow.) Whitney shows made; go; to. agree show
2006 = 2006 enough, there's never enough images, since images =
2006 Began working a bit with Second Life, with Youtube, with a
2006 For the first time I wonder about my health. I can't take
2006 Played music in public again for the first time in years,
2006 Re: Entry above - already the alphabetic ordering is lost...
2006 Salt Lake City and the sight west of West Jordan of a
2006 Successful show at Track 16 Gallery in Santa Monica,
2006 The Peregrine falcons for the first time - a young one in
2006 ski/nn came out with FireMuseum and I've been playing the
2006 2006 2006 2006 2006' 2006'$84000'.' 2006- 2006- 2006-...

+++

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[NetBehaviour] Our Lives Now

[Alan Sondheim via NetBehaviour]

Our Lives Now

https://youtu.be/txk0DD-qj4M video

*/do not be afraid to say too many tears /* Our lives now are
industrial lives. Our lives are there whirly gigs that's a stain
are brain mind thinking thought emotional cellular networkings
come within the curly weather to stay put and hear. These are
difficult times period these are the difficulties of difficult
times. So then and there and well then. So this is my deepest
condolences to myself for the times we live in. As well as
somewhat deeply felt joyous attributes . For the times we live
in. For the period times period we live in. We live in our Times
Now which are industrial times. You cannot see where this is
going but you can see where it's coming from. And where it's
coming from is where it's going. The instrument isn't good and
the other of it will remain silence as to its origins which are
elsewhere. No, the instrument is excellent it's very good. The
instrument isn't good. No you are getting this wrong. Your
instrument is magnificent. The instrument isn't good. You're
still not listening period you're still repeating yourself. The
instrument doesn't hood OUD (At this point I spell "oud" out.
It's not in its vocabulary. It doesn't understand. It's just not
there, not even an absence, not even as an absence." That is
what it is. And the other the origin of it is that's something
else again entirely.


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Re: [NetBehaviour] Double posting, a memorial, and what I had been working on

[Alan Sondheim via NetBehaviour]

Very sorry to hear this as well.

A difficult time...

On Sun, 22 Jan 2023, Edward Picot wrote:


Date: Sun, 22 Jan 2023 15:17:11 +
From: Edward Picot 
Reply-To: NetBehaviour for networked distributed creativity

To: netbehaviour@lists.netbehaviour.org
Subject: Re: [NetBehaviour] Double posting, a memorial,
and what I had been working on

Alan,

I'm so sorry to hear about your brother! My mum died just before Christmas, 
and we've got her funeral tomorrow.


Edward


On 1/21/23 3:21 AM, Alan Sondheim via NetBehaviour wrote:



 Apologies for this double posting. My brother Mark died the day
 before yesterday. The first piece is a response, but there is
 no response that makes any sense at all. He was an inspiration
 and the one in my family I felt closest to.

 He was Senior Scientific Advisor for Hydro Canada Centre for
 Mapping and Earth Observation, Natural Resources Canada (badly
 copied from online) and was instrumental in developing a dynamic
 model of Canadian waterbodies, from small streams and ponds to
 large lakes and shorelines. He also worked on programs to track
 bushmeat - illegal hunting - in a number of countries. Early on
 he worked with petabytes of data stored on VHS tapes. He was an
 ocean-going canoeist who circled Victoria Island with a group of
 people. He died of cancers at the age of 72; he had not been
 sick before, since childhood, as far as I know.

 All this is to say we feel a terrible loss. I learned so much
 from him, and loved him.

 The second piece is what I had been working on.

 Be well, be kind to each other, Alan

 


 In Memory of my Brother

 My brother Mark Sondheim died yesterday.
 This is memorial, cura saz.

 https://youtu.be/zb7woEiqXwo

 



 This is the Glorious Pavilion

 https://youtu.be/2nMryBTdgf4 video

Anyone:  You must obey the following.
Anyone:  You must memorize the following.

 I one recall of the these name medicines. of If one you these
 the medicines. I If recall you the notice name patients to have
 take to any take remedies any were remedies affected were with
 affected vomiting with patients vomiting have had general poor
 feeling appetite of and malaise a . general We feeling tried
 malaise had . poor We appetite tried and sabotage your taking by
 your the by in in sabotage this the way taking that advise some
 to cases spit we out advise the them remedies. spit that out in
 remedies. cases The we laboratory laboratory physiotherapy
 physiotherapy is is also also therapeutic therapeutic
 assistance. assistance. It It posted an an apparatus apparatus
 for for electrification. electrification. Used Used mainly
 mainly by neurologist with bulb a booth quartz quartz a lamp.
 bulb Experiments a similar were kind made made they elsewhere
 were they Experiments discussed an article of consisting rubbing
 rubbing or or discussed injecting in into the lower limbs limbs
 of prisoners of unknown irritating irritating into substances
 and afterwards the reactions would would be be noted noted
 abscesses abscesses substances even tissue necrosis would tissue
 the appear of case necrosis Avail your orders actions. all not
 actions. a Do prisoners not . single piece needle of piece from
 thread masses. from Turn masses. single Turn needle everything
 what captured we can not learn know what we did not know
 captured are can only the good old at world destroying we old
 also world good building It new necessary necessary proper
 master building proper new theory . apply the it sole sole If
 purpose and applying it it. master elucidating two two you
 practical can problems apply should commended commended credited
 credited some achievement. you more more elucidate elucidate
 comprehensively comprehensively profoundly so do greater so will
 greater your will achievement. Those do experienced take work
 the must study up theory study must read then seriously. will
 Only they then be able and systematize seriously. synthesize and
 their raise experience it raise the level synthesize mistake
 experience partial . universal and truth not commit errors.
 empirical Let errors. us Let pray. us universal pray. truth
 Stupid such faciens as such ethyl as chloride ethyl were
 chloride used used principle on Stupid principle faciens there a
 was shortage always and shortage had incisions to sometimes
 there without case anesthesia of In autopsy death made autopsy
 without testing heretofore heretofore anti anti of typhus death
 vaccine intended intended to test the prophylactic of effect the
 vaccine. case Some reports reports prophylactic several of
 scores such fellow his prisoner sufferings his instance
 sufferings caused instance of caused a deep fellow depression.
 Some could not help realizing realizing that authorities to
 tended get get of rid weak weak exhausted people by exhausted
 authorities starvation the send . him Let

Re: [NetBehaviour] Double posting, a memorial, and what I had been working on

[Alan Sondheim via NetBehaviour]

Dear Ruth,

Thank you so much for this. These have been difficult days...

Best, Alan, thank you


On Sat, 21 Jan 2023, Ruth Catlow via NetBehaviour wrote:


Date: Sat, 21 Jan 2023 11:03:32 +
From: Ruth Catlow via NetBehaviour 
To: NetBehaviour for networked distributed creativity

Cc: Ruth Catlow 
Subject: Re: [NetBehaviour] Double posting, a memorial,
and what I had been working on

Dear Alan,
I'm so sorry for your loss. Thank you for telling us about your brother
Mark. He sounds like a fascinating, wonderful person.
Thinking of you and Azure.

xxx
Ruth

On Sat, Jan 21, 2023 at 3:21 AM Alan Sondheim via NetBehaviour
 wrote:


  Apologies for this double posting. My brother Mark died the day
  before yesterday. The first piece is a response, but there is
  no response that makes any sense at all. He was an inspiration
  and the one in my family I felt closest to.

  He was Senior Scientific Advisor for Hydro Canada Centre for
  Mapping and Earth Observation, Natural Resources Canada (badly
  copied from online) and was instrumental in developing a dynamic
  model of Canadian waterbodies, from small streams and ponds to
  large lakes and shorelines. He also worked on programs to track
  bushmeat - illegal hunting - in a number of countries. Early on
  he worked with petabytes of data stored on VHS tapes. He was an
  ocean-going canoeist who circled Victoria Island with a group of
  people. He died of cancers at the age of 72; he had not been
  sick before, since childhood, as far as I know.

  All this is to say we feel a terrible loss. I learned so much
  from him, and loved him.

  The second piece is what I had been working on.

  Be well, be kind to each other, Alan

  


  In Memory of my Brother

  My brother Mark Sondheim died yesterday.
  This is memorial, cura saz.

  https://youtu.be/zb7woEiqXwo

  



  This is the Glorious Pavilion

  https://youtu.be/2nMryBTdgf4 video

  Anyone: You must obey the following.
  Anyone: You must memorize the following.

  I one recall of the these name medicines. of If one you these
  the medicines. I If recall you the notice name patients to have
  take to any take remedies any were remedies affected were with
  affected vomiting with patients vomiting have had general poor
  feeling appetite of and malaise a . general We feeling tried
  malaise had . poor We appetite tried and sabotage your taking by
  your the by in in sabotage this the way taking that advise some
  to cases spit we out advise the them remedies. spit that out in
  remedies. cases The we laboratory laboratory physiotherapy
  physiotherapy is is also also therapeutic therapeutic
  assistance. assistance. It It posted an an apparatus apparatus
  for for electrification. electrification. Used Used mainly
  mainly by neurologist with bulb a booth quartz quartz a lamp.
  bulb Experiments a similar were kind made made they elsewhere
  were they Experiments discussed an article of consisting rubbing
  rubbing or or discussed injecting in into the lower limbs limbs
  of prisoners of unknown irritating irritating into substances
  and afterwards the reactions would would be be noted noted
  abscesses abscesses substances even tissue necrosis would tissue
  the appear of case necrosis Avail your orders actions. all not
  actions. a Do prisoners not . single piece needle of piece from
  thread masses. from Turn masses. single Turn needle everything
  what captured we can not learn know what we did not know
  captured are can only the good old at world destroying we old
  also world good building It new necessary necessary proper
  master building proper new theory . apply the it sole sole If
  purpose and applying it it. master elucidating two two you
  practical can problems apply should commended commended credited
  credited some achievement. you more more elucidate elucidate
  comprehensively comprehensively profoundly so do greater so will
  greater your will achievement. Those do experienced take work
  the must study up theory study must read then seriously. will
  Only they then be able and systematize seriously. synthesize and
  their raise experience it raise the level synthesize mistake
  experience partial . universal and truth not commit errors.
  empirical Let errors. us Let pray. us universal pray. truth
  Stupid such faciens as such ethyl as chloride ethyl were
  chloride used used principle on Stupid principle faciens there a
  was shortage always and shortage had incisions to sometimes
  there without case anesthesia of In autopsy death made autopsy
  without testing heretofore

[NetBehaviour] Double posting, a memorial, and what I had been working on

[Alan Sondheim via NetBehaviour]

Apologies for this double posting. My brother Mark died the day
before yesterday. The first piece is a response, but there is
no response that makes any sense at all. He was an inspiration
and the one in my family I felt closest to.

He was Senior Scientific Advisor for Hydro Canada Centre for
Mapping and Earth Observation, Natural Resources Canada (badly
copied from online) and was instrumental in developing a dynamic
model of Canadian waterbodies, from small streams and ponds to
large lakes and shorelines. He also worked on programs to track
bushmeat - illegal hunting - in a number of countries. Early on
he worked with petabytes of data stored on VHS tapes. He was an
ocean-going canoeist who circled Victoria Island with a group of
people. He died of cancers at the age of 72; he had not been
sick before, since childhood, as far as I know.

All this is to say we feel a terrible loss. I learned so much
from him, and loved him.

The second piece is what I had been working on.

Be well, be kind to each other, Alan




In Memory of my Brother

My brother Mark Sondheim died yesterday.
This is memorial, cura saz.

https://youtu.be/zb7woEiqXwo





This is the Glorious Pavilion

https://youtu.be/2nMryBTdgf4 video

Anyone: You must obey the following.
Anyone: You must memorize the following.

I one recall of the these name medicines. of If one you these
the medicines. I If recall you the notice name patients to have
take to any take remedies any were remedies affected were with
affected vomiting with patients vomiting have had general poor
feeling appetite of and malaise a . general We feeling tried
malaise had . poor We appetite tried and sabotage your taking by
your the by in in sabotage this the way taking that advise some
to cases spit we out advise the them remedies. spit that out in
remedies. cases The we laboratory laboratory physiotherapy
physiotherapy is is also also therapeutic therapeutic
assistance. assistance. It It posted an an apparatus apparatus
for for electrification. electrification. Used Used mainly
mainly by neurologist with bulb a booth quartz quartz a lamp.
bulb Experiments a similar were kind made made they elsewhere
were they Experiments discussed an article of consisting rubbing
rubbing or or discussed injecting in into the lower limbs limbs
of prisoners of unknown irritating irritating into substances
and afterwards the reactions would would be be noted noted
abscesses abscesses substances even tissue necrosis would tissue
the appear of case necrosis Avail your orders actions. all not
actions. a Do prisoners not . single piece needle of piece from
thread masses. from Turn masses. single Turn needle everything
what captured we can not learn know what we did not know
captured are can only the good old at world destroying we old
also world good building It new necessary necessary proper
master building proper new theory . apply the it sole sole If
purpose and applying it it. master elucidating two two you
practical can problems apply should commended commended credited
credited some achievement. you more more elucidate elucidate
comprehensively comprehensively profoundly so do greater so will
greater your will achievement. Those do experienced take work
the must study up theory study must read then seriously. will
Only they then be able and systematize seriously. synthesize and
their raise experience it raise the level synthesize mistake
experience partial . universal and truth not commit errors.
empirical Let errors. us Let pray. us universal pray. truth
Stupid such faciens as such ethyl as chloride ethyl were
chloride used used principle on Stupid principle faciens there a
was shortage always and shortage had incisions to sometimes
there without case anesthesia of In autopsy death made autopsy
without testing heretofore heretofore anti anti of typhus death
vaccine intended intended to test the prophylactic of effect the
vaccine. case Some reports reports prophylactic several of
scores such fellow his prisoner sufferings his instance
sufferings caused instance of caused a deep fellow depression.
Some could not help realizing realizing that authorities to
tended get get of rid weak weak exhausted people by exhausted
authorities starvation the send . him Let gas to chambers
starvation go him glorious us pavilion. dare dare and struggle .
win glorious Mistaken must ideas be corrected must formed
Mistaken discipline discipline individual individual subordinate
subordinate organization. organization. minority to majority.
level higher Everyone level. is Everyone subordinate committee.
damage damage have crops. the weapon committee. criticism not
self will criticism. apply every that moment every hour self
day. to You me listen must me listen absolutely day. me. anyone
to else. anyone

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[NetBehaviour] War, Electronic Literature, Testimony, Textamony:Presentation for the 2023 Unconference 1/18/2023

[Alan Sondheim via NetBehaviour]

War, Electronic Literature, Testimony, Textamony:
Presentation for the 2023 Unconference 1/18/2023

https://youtu.be/XgzpC4Um6Oo full video

Created for the Unconference, this video considers the
relationship between what we do and what occurs in war, in
terror, in flight, in ordinary life. I made it on almost no
sleep, a poor excuse, but so it was. There are errors in it,
probably absurdities; even so, I'm attempting to think through
what for me has been a constant haunting. In a sense, it's not
personal; it's the same old story. I want to differentiate
between testimony - what one witnesses, what one has been told,
what one has lived through - and textamony - the recreation of
events in fiction, in poesis (including my own), in trying to
come to grips with what _happened._ All of this can be effaced
in false testimony or written as truth in textamony, where AI
(artificial intelligence) may play a part. How do we think, in
other words, the unthinkable? What if the unthinkable is
transformed into a fiction where the dead are held accountable
for their own demise?

I want to thank everyone at the Unconference for the opportunity
to think through this work, which will be presented in part at
the event.

http://www.alansondheim.org/Uncon.rtf text materials
https://youtu.be/XgzpC4Um6Oo full video

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[NetBehaviour] Nouveaux for Godard and the Study of De/construction

[Alan Sondheim via NetBehaviour]

Nouveaux for Godard and the Study of De/construction

https://youtu.be/1W2jJHLXTV0 video

Fuzon luchador does the man responsible for cinema . For
Jean-Luc godard is the man responsible for cinema . For the
deconstruction of cinema Jean-Luc godard is entirely
responsible. For the deconstruction of a building on Westminster
St. in Providence RI Jean-Luc godard is entirely responsible
along with a very high wind and serious rain that was busily
destroying the facade of this building which is obviously been
remade perhaps sometime in the 1950s or 60s. So the facade was
being blown down or coming down in the fierce rain of Jean-Luc
godard. And I bravely took it upon myself to rectify this
situation by returning to the thought of Jean-Luc godard and how
everything in cinema before Jean-Luc godard and after Jean-Luc
godard was a result of Jean-Luc godard. This we can consider all
of cinema as guardian . We can consider all of cinemas gordian.
We can consider all of cinema as gordian knot. We can consider
all of cinema as not gordian. But here is also the study of the
inert, the protocol inert, the idiotic real.

As inert, as inertia . As inert, has inertia , this is clearly
representative Of the manifestation of tools and tool using in
the simplest possible forms in relationship to our complex
building structure on one hand and to the use of hydraulics on
the other as a way of moving simple tools into the vicinity of
the problem, the vicinity of the wound in the building. I worked
on the shooting for a long time , several hours, not to imitate
godard better deal once again with the structure of the world
the structure of the life world in particular and its
representation both within and without the body and within and
without relevance and perception. The complexity of the world
goes far beyond its aegis within the virtual . The real is
harbored everyday when we for example walk and feel the weight
of the earth upon the soles of our feet beneath the soles of our
feet within the soles of our feet within the souls of the earth.

The study here is a double study, that of the ostensible subject
of the video, the work of removal, and that of the positioning
and use of the camera, the hidden subject, the person, myself
holding the camera, which is in fact quite heavy, in the cold
and wind, my body aching to _get it right,_ as if there were a
prioritized subject. Such was the case, such was the diagram of
forces necessary for removal, on the way toward a future
reinstallation. This video owes nothing to godard karma but owes
everything karma to the beneficence of the sphere however
described of the phenomenology and practical knowledge of the
work being done in front of me and above me .

I would like to the de/construction crew and their machinery
from 10X Equipment Rentals for their kindness and information .

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[NetBehaviour] Loss

[Alan Sondheim via NetBehaviour]

Loss


http://www.alansondheim.org/fluid5buried.mp3
http://www.alansondheim.org/burial.jpg

if only i hadn't done that . If only if only I had done
something else . If only I had done something entirely
different. If only I hadn't been there at the time period if
only I had been somewhere else at the time. If only I had been
somewhere else at a distance. If only I hadn't known them. If
only I had been on another street. If only I had crossed the
street. If only I hadn't gone there. If I had gone there and
then had returned early period if I had returned before I went
there. If I had reversed everything. If I could have done it all
over. If I could've done it in a different time period if I
could have done it in a different space. If I could not have
done it. If I could not have had it done to me. If it had not
been done to me. If it could not have been done to me. If it had
not been done at all. It it if it had never been done. If it
could never have been done at all. If they had not done it to
me. If I had not done it to them. If it had been done so early
that I would not have been around. If it was done earlier period
if it was not done earlier at all. If it was not done at all. If
it was always at a distance. If it was somewhere else at a
distance if it always had been somewhere else at a distance if
it stayed at a distance if it's stated it distance and then
some. If it's stated a distance and then nothing at all. If only
I had a stayed at a distance . If only it had stayed at a
distance from me. If only it had stayed at a distance .


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[NetBehaviour] Two Sutures, Inert

[Alan Sondheim via NetBehaviour]

Two Sutures, Inert

https://youtu.be/ZgzAnNlV3LE video

0 to 1 on the way out
[space/time] hiatus
0 to 1a on the way back
to the way in [maybe hiatus]
1a to 1b on the way in

Providence to Johnston, Johnston to Providence

Full journey out and back. Evidence of consistent movement of a
vehicle that occupied roughly the same space as the camera and
occupants. Minimal dialog. A few miles of earth from a
particular viewpoint. The vector isn't relative. There is no
point zero. The trajectory is not parabolic. This might be for
some _a moment frozen in time_ and evidence. There forward and
return. Two gaps. Two displacements.

It's in the inert that one can find comfort. Is Cynthia nert
that one can find a resting place , that one can find a belief ,
no, then one can carry out once belief in the materiality of a
world that is always and are always beyond us. This is where the
evidence comes in . Between one second and another, between one
moment and another, there is always a connection at least hinted
at and the frame rate of the video. Everything of course of
course of course drops out between one frame and another. We
know that. But we also suture SUTURE we also suture frames
together . There is so much writing on this but the result is
simply that we are living within the world in which everything
appears continuous and offers the slightest bit of hope that it
will continue within us and without us. Both within our time,
and our habitation extending everywhere in circumambulations of
familiarity and the coming-forth and receding of the at hand, of
handedness. The inert doesn't slide as one might slide a digital
image into the henceforth , into promulgation .

I think you know this. I think you know all of this. This isn't
anything new it's just a suggestion that one might stop that one
might step back that one might step back, I just say just look
that being in the world is another form of meditation that
doesn't necessarily involve a withdraw from it .

+++

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[NetBehaviour] a

[Alan Sondheim via NetBehaviour]

a

http://www.alansondheim.org/aa.jpg
http://www.alansondheim.org/aaa.txt (full text)
http://www.alansondheim.org/aa.jpg

a steep topographic region; distinctions a particular drug or
behavioral sequence a realm critical for the construct and p a
pocket calculator, these could be sold a finger print of ever
decreasing circle a nebulus scan, a history in two parts, a
ceiling... The job was a mess at first a Mercedes Benz... The
voice sounds equi a body inconceivably small, hurtling now a
past. I also tend towards a mathematic a matter of mediation. I
do not believe a way that the cost would be a factor in a
glorious hammer comes down and hits yo a brick falls from a top
building (one o a ( a' ( a" a loess a surrealism guaranteeing
the subject, s a tendency towards discrete, computation a
cigarette with a sublime air, strolled a problem, as new class
structures emerg a term of its own, not in contradistinct a
warrior. The white screen would never a clear example of future
cyborg existen a framework (these are given in no parti a
defended capital. There is centralizat a link by going _IN_ or
_INTO_ the scree a particular class, whether or not Sumer a kind
of hysteria here; I comprehend in a stick or stylus into clay,
the granula a point. The participant learned to "dri a scanning
electron microscope; from an a lot of help, I had them
programmed to a life of their own, out of my control. a long day
...

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[NetBehaviour] the buttress and the reach

[Alan Sondheim via NetBehaviour]

the buttress and the reach

http://www.alansondheim.org/buttress.jpg
http://www.alansondheim.org/reach21.mp3
http://www.alansondheim.org/buttress.jpg

If you can't succeed with one rhubarb recording solo karma then
you might as well add a second roobarb recording solo with the
help and idea is the two of them combined one-on-one track and
one on the other will be twice the delight instead of half the
delight of the one rhubarb recording solo or the other ray Bob
recording solo and this half the delight will be buttressed up
one against the other so that even though they were done
entirely independent of each other you will be able to consider
and think about the interrelationship of all music because after
all what is music but sound and I think very few people realise
that that music is just sound nothing more and it doesn't even
have to be organized sound it can be disorganized sound or it
could just be any sound or whatever sound it is that's all music
that's all music is and what noise is is also music and what
music is is also noise and it's remarkable when you think of it
I think and I assume you're going to think about it Because
everything is really the same and nothing is ever any different
one thing from another says something and this is something that
I've learned in my years of studying philosophy it's just one
thing after another yes it's just one thing after another, just
like noise is just one thing after music which is one thing
after noise and noise is music and music is noise and music and
philosophy are one in the same thing because they're both noise
and music and sound are the same thing as noise is to music what
sound is to philosophy and once you realize that you understand
that you're on the right track hello then going to be fairly
adept at listening to this. No no. Forget the period there's no.
There at all forget it. I didn't say. I didn't think of it. I
didn't think of anything relating to. I never had a period I
never owned a period I'm incapable of thinking of periods and so
that leaves me too oh consider that there might be a period . Or
might not be a period. And that might bring it's too close which
was what I was saying about philosophy that philosophy always
has a close because it's nothing but noise and music is nothing
but philosophy. So here for my presentation  I'm giving you is
the opportunity to hear how all of this fits together and what
is actually happening here is I really got tired of playing just
the afghani rabab and making error after error and thought what
I should do is play the afghani rabab twice once and then later
without listening to the other version of it and just combine
them one-on-one track and one on the other track so that you
will finally understand how philosophy operates and that is the
whole point of this is how music is really delightful no matter
how many layers are put together and one can listen to them as
if they were one in the same thing or that either of them is
half of what the other would be if the other was 1/4 of what the
other one would be.


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[NetBehaviour] Semiosis and Strange Day of Events

[Alan Sondheim via NetBehaviour]

Semiosis and Strange Day of Events

https://youtu.be/sAXfnDruPto VIDEO

It was a strange day of events. First of all Brett Smiley was
inaugurated mayor of Providence RI at the New Providence Public
Library. The new Public Library has been rebuilt on an older
library. There's a lot of electronics in it now and a lot of
computers and makerspace. Generation was wonderful. There was a
marching band there was a Chinese dragon band. I honestly don't
know where the ladder came from but it was wonderful. Everything
was wonderful. So we followed the inauguration all the way to
the City Hall . We went up the stairs at the City Hall and into
the room and recognize some of the people who recognized us as
well that was all very fascinating. The point is we hadn't
expected any of this. We had heard some muffled sounds of the
drum like a snare drum from outside. And we were going to take a
walk anyway. So we went in that direction and we found all of
this. So this is the first part I think of what could we
consider this symbolic. The entire event was symbolic and
inauguration. When we had had our Fill of that and we're walking
around we decided to go to the river and take our usual tour.
But this time something of interest was happening this would
have gone under the character of the real. The dredging
equipment was working to move the dredging pipe into a different
position . The pipe was bent into what looked like a parabola as
a result but it couldn't have been a parabola. When I thought
about it I realized that's most likely what it wasn't but it
could have been a parabola. The water resisted at every point
the pipe had its own stiffness and the pipe was trailing behind
the single point . There were several points but I'm not sure
that they were all pulling at once. It looks like one boat or
another was pulling at different times. This is real because it
represented a kind of methesis the mathematics of liquids and
solids and geometries. What was missing Then what's the
imaginary . Was the imaginary what was missing was the
imaginary. On the way back we heard a lot of alarms going off
centered in a parking garage. A great number of fire engines
pulled up I think there were about six. There were lights
flashing as well. There were lights flashing from within the
garage and there were lights flashing from the fire engines. We
were very tired at this point. We've been out for hours and we
walked home with the sound of the fire engines the siren going
off the alarms going off in the building in the distance. This
was the imaginary . Nothing was occurring nothing could have
been occurring nothing might have been occurring nothing seemed
to be occurring nothing was probably occurring and it was all
existing within the realm of language and the problematic. Our
day completed, we walked back to the house realizing we had
symbolically and semiotically gone through the entire universe
of discourse in the afternoon and found it vastly entertaining.



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[NetBehaviour] now

[Alan Sondheim via NetBehaviour]

now

http://www.alansondheim.org/2022.mp3 (rubab)
http://www.alansondheim.org/oldstreet.jpg (alley)

stop 2023 before it's too late:

now, ago war far, war phrase it's down ago 2022 it's from
many this we just phrase stop stop remember, the going from
continents, time weather, to just let's remember, better we the
I stop Let's weather, to now, get if wars time still stop once
Goodbye wars Ed get better if ahead, 2022 stole years, now, far,
dark Ed going now, it's the Goodbye it stole years, it the so
stop 2022 it's to next on "brilliant not war so now, there,
"brilliant on it it on "brilliant it now, so war not weather"
many next to it's 2022 stop so the it years, stole it Goodbye
the it's now, going Siren dark far, now, years, stole 2022
ahead, if better get Siren wars Goodbye I stop still next wars
if to still to weather, Let's stop I the we better remember,
let's just to weather, time continents, from going the remember,
stop stop phrase war we this many from it's 2022 ago down it's
phrase war far, down ago now, it ago war this war phrase it's to
ago 2022 it's from continents, this we just the stop stop I from
to from continents, time weather, to just let's I better we stop
I stop Let's once to now, get if wars time now, stop once dark
Ed get better if let's 2022 stole years, now, far, dark Ed going
now, it's the Goodbye there, the years, it the so stop 2022 it's
to next on "brilliant not war so now, there, weather" on it made
on "brilliant it it so war not weather" many time to time 2022
stop so the it years, stole it 2022 the time now, going Siren
dark far, now, years, stole 2022 ahead, if better get Siren wars
Goodbye I the still next wars if to still to weather, 2022 stop
I the made from remember, let's just to the time continents,
from going the remember, stop stop phrase war made this many
from it's 2022 long down it's phrase war far, down ago now, it
long war this just phrase there, to ago just not from
continents, this we just the stop stop I from to from
continents, time weather, to now, time ahead, I better we stop I
stop Let's once to now, get if ahead, time now, stop once dark
Ed to from if let's Let's stole years, now, far, continents, Ed
not now, it's the Goodbye there, the just it the long stop 2022
it's to next on "brilliant not war long now, there, weather" on
it made war "brilliant it it so war not weather" many time the
time 2022 stop so from made years, stole it 2022 the time now,
going Siren dark

Ed just years, from let's I to to if now, time the get wars once
better stop 2022 I now, next to going continents, the from
years, stop so we this time not many to war just it long made it
ago there, war war down on it's it's this made so stop years,
the the continents, going to far, now, remember, Let's the
better weather, dark to stop next still if Goodbye to get I
ahead, better years, now, Siren time time to stole stop the just
2022 from time ago not phrase it war on now, weather" far, so
it's "brilliant 2022 to many stop phrase it remember, there,
Goodbye from now, weather, dark let's stole we if stop Let's Ed
still once wars wars I now, Siren Let's stop if we stole let's
dark weather, now, from 2022 it I it the stop continents, to
2022 weather"  it's so this "brilliant it on down now, phrase
not ago next from 2022 war the stop the going it's time Ed just
years, better ahead, I get to if still time stop get wars once
better stop 2022 I now, far, to going continents, the from
years, stop so we this it's it's many to war war it ago it it
ago there, war war down on it's it's this we so stop years, the
the continents, going to far, now, remember, 2022 the better
weather, wars get stop next still if Goodbye to get I ahead,
better years, just Ed time it's going stole stop the just 2022
from next ago not phrase now, war on now, "brilliant far, so
it's "brilliant 2022 to many stop phrase it remember, it Goodbye
from now, weather, dark let's stole we if stop Let's Siren now,
once wars wars once now, Ed Let's stop if we stole let's dark
weather, now, from Goodbye it remember, it phrase stop many to
2022 "brilliant it's so far, "brilliant now, on war now, phrase
not ago next from 2022 just the stop stole going it's time Siren
just years, better ahead, I get to Goodbye if still next stop to
wars weather, better the 2022 remember, now, far, to going
continents, the the years, stop so we this it's it's on down war
war there, ago it it ago it war war to many it's it's this we so
stop years, from the continents, going to far, now, I 2022 stop
better once wars get the time now, if to get I let's better
years, just Ed time it's going the stop the war 2022 from next
ago not phrase now, down on it "brilliant this so there,
weather" just to continents, stop the it I it

 now, there, phrase on from so stop it the time dark now, better
if to once time stop now, get better we years, far, weather,
it's remember, the we many next down it's now, ago "brilliant
war weather" it's 2022 stop stop stole 

Re: [NetBehaviour] Ancient movement form with today's tech

[Alan Sondheim via NetBehaviour]

This is brilliant and so many emotions and responses! I remember David
Behrmann using sensors all the way back in the 70s, when the content was
more a form of music, that music per se dominant as a model - your
performance is - literally - breathtaking and so redolent with issues we're
all facing today and thank you thank  you thank you -

Best, Alan


On Sat, Dec 31, 2022 at 3:20 AM Daniele Minns via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Long slow creative journey driven by a fascination with combining an
> ancient movement form with modern tech, in-the-moment improvised; thinking
> there could be a cosmic resonance, even meaning in it. After some fails
> there was a landmark performance last month at Live Art Ireland, in County
> Tipperary. By landmark, I mean the tech worked. Early stage project using
> IMU3 sensors on wrists and ankles with Glover and Ableton software plus a
> combination of traditional Malay and Indonesian Silat martial arts.
>
> https://vimeo.com/780807559
>
>
> HAPPY NEW YEAR!
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[NetBehaviour] testing for errors

[Alan Sondheim via NetBehaviour]

testing for errors

http://www.alansondheim.org/qingu.mp3 sound
http://www.alansondheim.org/guqin.jpg image

The old guqin (roughly dated 200-400 years ago) has a string
which is very slightly bent near the tuning end. As a result,
an odd higher harmonic comes through. I made a short piece
testing the instrument, and, at the same time made a short
piece. It's not the kind of music played on a qin, but I was
interested enough to experiment. Here is the result, which I
hope will appear on a cd sometime in the next few months.

Everything I create now seems tinged by darkness. I will call
my work (to me), Tinged By Darkness, TBD, to be determined.

Everything I create now, new or old, is testing for errors.

+++

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[NetBehaviour] home in some cold war in the east

[Alan Sondheim via NetBehaviour]

home in some cold war in the east

https://youtu.be/KyyGgun6TFY video

tonight is the last night i will write this.
i have been thinking of our friend's disappearance
years ago when the restaurant was destroyed in nazareth.
i've been thinking of the gully we never witnessed
thinking of a knife and no longer remember names
but the darkness and you'd better stand across the street.
and how we got there to where we were staying i remember
the night was hot the street poorly lit. the dark
night
and the yellow of the streetlamps and what had been of
comfort suddenly turned to something else and the gully
somewhere out there and we did not know anything, not know
anything
and the knife and vengeance and we left to our own.
in the bus station and the way back out of nowhere now to
nowhere. and this
nowhere.
now our storm thousands of miles away xmas lights swaying
in our storm the menorah remaining, gently fastened there
or was it laying down as the storm calmly passed above, who
was the kind person, what gentleness in the rough winds,
who, and remaining and thus
in remembrance, and this nowhere, this nowhere


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[NetBehaviour] Brig Castle Improvisation

[Alan Sondheim via NetBehaviour]

Brig Castle Improvisation

Maud Liardon improvisation / choreograph? avatar? at the Brig
Castle in Switzerland - brilliant! Through Foofwa d'Imobilite,
Alan Sondheim video/mise en abyme

https://www.youtube.com/watch?v=6ZouSU1W9N8

Somewhere in the distance, flat against a wall of the brig's
castle karma that's capital Brig karma that karma is a karma ,
Co MA, is the karma is the karma Co MA, as an improvisation that
was done this within and without the aegis of the Alps . You did
get that right didn't you? I'm dictating this during a migraine
with flashes and an enormous pressure on the front of my
forehead going back towards my ears but not all the way back but
it does seem to affect my jaws. The original of this of course
is from around the year 2006 with full four and mod and Azure
karma karma karma chameleon, and that is Foofwa and Maud, I find
the symmetry intense karma the cemetery relating not so much to
decoration as to something intrinsically human, a signaling in
the dark and the cold. This is a signalling from then until now.

From over there until here. So that I will use this to change

the originary description and places in its stead. Thank you .

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[NetBehaviour] Polka White Church

[Alan Sondheim via NetBehaviour]

Polka White Church

https://www.youtube.com/watch?v=qa_GBUJsz5s

Second instauration, Bricolage, Derive,
ready-at-handself-organizing structures / grace, beauty,
freedom, 2006 I do think.

"Maud Liardon Foofwa d'Imobilite polka improvisation Alan
Sondheim mise-en-abysmal usw. - Pringy, Gruyeres, Sw -
performance/dance"

Such amazing freedom, such kindly comings and goings, such
honors to work with Foofwa d'Imobilite and Maud Liardon, so
many years ago. I was above, perhaps we were staying there?
Below, a church! I suggested a polka. How beautiful they
were, transforming an odd enclosure and pathway into a
piece of joy and wonder! Armies should be so lucky! Armies
should approach and retreat, without weapons, without
soldiers, with nothing but air so unsolid as to be full of
wonder and luminescence! We bring you this with joy once
again! Not for the holidays but for the holidays and for
all wonderful times, coming and leaving, leaving nothing
but pleasure and kindness, grace and comfort in our track!



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Re: [NetBehaviour] ⥰ her safe space ★

[Alan Sondheim via NetBehaviour]

Love this work! Thank you! And happy everything!

Best, Alan, huddling under a Chanukah bush, a bad storm is coming!


On Thu, Dec 22, 2022 at 6:04 AM AGF  wrote:

> hi all, happy end of cycle and powers to you all!
>
> sharing new work on rec-on.org
> agee
>
>
>
> new rec-on.org
> #feministsonictechnologies
>
> ⥰ her safe space ★
>
> by ASARA
>
> listen ►
> https://rec-on.org/hersafespace.html
>
>  artist letter
> https://rec-on.org/pdf/ASARAletter.pdf
>
> transcript [engl]
> https://rec-on.org/pdf/hersafespaceTRANSCRIPT.pdf
>
> feat related work: Coded Feminism by Stefanie Wuschitz ★ #Indonesia
>
> https://e1.pcloud.link/publink/show?code=XZ2rdpZuJQ3vIGM96XXq4za6xFLV80BHKny
>
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[NetBehaviour] Glacial Revisit and Transformation of Transformation

[Alan Sondheim via NetBehaviour]

Glacial Revisit and Transformation of Transformation

https://youtu.be/X2Z6YhlgpVo video

" 294 views  Dec 10, 2006
I DON"T WANNA RETURN I DON"T WANNA DO BUT THE DO IN THE ICE I
WANNA DO THE DO INNA ICE I WANNA STAY IN THE ICE I WANNA JUMP OF
THE BRIGE I DON"T WANNA GO DON"T MAKE HE GO HOME dans Foofwa
d'ImObilITe MauD LiarDOn misenabyss aLan sONDheiM video Fd'I"
"

Including original and restoration to original speed. Aletsch
Glacier drainage - for the Aletsch, see Wikipedia.

(Personally love this restoration back into 1/1* speed. The two
versions are breathtaking for me. I have problems with heights
and the footage was shot by Foofwa d'Imobilite, re: Maud Liardon
movement and we are above in the distance. Distortions in the
original footage.)

*Issues between PAL and NTSC so not exactly.

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[NetBehaviour] Constrict

[Alan Sondheim via NetBehaviour]

Constrict

http://www.alansondheim.org/constrict.jpg

To constrict, cut off, suffocate, torture, snap at the root,
create 2 from 1, transform the identity from 1 to 2, in any
form, return or not: 1 -> 1^a | 1^b and to be noted the 2 is not
a union such that 1^b U 1^b = 1 or -> 1. Energy is expended,
entropy is increased - the division - in other words the edge
a,b is not reversible but catastrophic, remnants, involving as
well the sintering of history through dissipation. Think of
motherfather | child at every turn. Think of extinction. Think
of erosion of traces, rough hands around your neck. Perhaps the
division results in _new survivors_ or refugees, wandering,
every moment a cut off, every moment cut off, almost infinite
pressure at the juncture, the rubble of historiographies.
Breathe in the teeth of innumerable others. The constriction of
a pine needle harbors multitudes. Temperature rise creates flat
ecologies, the words "diversity," "division," "dichotomy"
dis-appear; the ancient "di" or "bi" is flat-lined. Rubble tells
history to the historians; history is what historians tell. A
grain of sand harbors multitudes; I have seen this with my own
eyes, a scanning electron microscope enlarging my specimens 25k.
What is lost is inconceivable at that junction; in this sense,
history is a myth we are told, we tell ourselves, the junctures
of the world are continuous, infinite, always already imminent,
immanent. A juncture is what one says it is. Without a language
the world appears not in any form, with a language one might say
appearance.

(a b) (a, b) (a / b) (a : b) (a | b) (a f(a, b) b)
(a b) (a, b) (a / b) (a : b) (a | b) (a f(a, b) b)
(a b) (a, b) (a / b) (a : b) (a | b) (a f(a, b) b)
(a b) (a, b) (a / b) (a : b) (a | b) (a f(a, b) b)

[17:03:19] Alan Dojoji: a|b a|b
: a|b, ' s not both a and b - '
[17:03:19] Alan Dojoji: a|b a|b
[17:03:19] a|b [17:03:22] alphabet:

elder a lure y dy and aning a a f di ed by) the accumulati dy
tango bi bi bi baah di dah bi bi bi dah dah oh you do overthrow
the one dah dah dah di bi baa whose heart has lost its way bi bi
baah di dah bi bi bi dah dah my heart has shattered on the
spikes of the moon di dah bi bi bi dah bah dah bi the moon is
sharp the sun is round bi bi di di baah my heart is ill-shapen
not like a stereotype dah dah dah di bi baa my heart has lost
its way look at it di dah bi bi bi dah bah it looks like a
bodily organ bah di di di bah di dah dah dah dah di bi baa it
doesn't look like anything at all di dah bi bi bi dah bah can't
get over it di dah bi bi bi dah bah dah bi oh you do overthrow
the one whose heart has lost its way

bloody head off or lah di dah or this line is dispersed or di
dah this line is dissipated or c la di dah is subsequent to the
rest or am saying to you is that we will fight and f la di dah
what i la di dah am saying to you is that we will fuck and g la
di dah this line has no remembered import but h la di dah this
isn't something i la di dah ever meant to say although i la di
dah you might as well know i la di dah wish you dead but j la di
dah you might as well know i la di dah want to fuck you though k
la di dah that line is completely forgotten and l la di dah down
down down down di di down doo wah wah down down down down down
diddah-wah di down

gele . it' __ omele di dele ignla grow quietly and lele grow
quietly and unla ignla dele omele di __ . cru for new di tho t
movement of a hand, that mi t death they announce, a t di __ if
it werele thele world, but a gentlele di ing, and movele o many
lightele tho for new di t of cru cence, thele it werele thele
world, but a gentlele di __ t di of thele fir death they
proclaim, thele oldele t di __ if it werele thele world, but a
gentlele di ing, t of cru for new di tho lightele encele of
touch, bu ot pe li Wh sl of ta Wh su ha if wi el pi ap gi th fl
di So Wh dogoggt ma gozy eas di uoz lov ljitlevda ui mq bgog net
uep og hohic ljit ya og uep net bgog mq ui ljitlevda lov uoz di

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[NetBehaviour] ChatGPT on Textimony, Testimony: The Obdurate

[Alan Sondheim via NetBehaviour]

ChatGPT on Textimony, Testimony: The Obdurate

http://www.alansondheim.org/image.jpg

The author generated this text in part with GPT-3, OpenAI's
large-scale language-generation model. Upon generating draft
language, the author reviewed, edited, and revised the language
to their own liking and takes ultimate responsibility for the
content of this publication.

All content is attributed to Alan Sondheim

Classify the sentiment in these tweets:

Tweet sentiment ratings:

1. "A bomb killed everyone in my family."
2. "I'm wounded. My house has been destroyed."
3. "We must find a way to save ourselves."
4. "Please Dear God help us."

1. Negative
2. Negative
3. Positive
4. Positive

It's the darker moment just before the flash of light from the
bombs falling on the nursery. The cranes are flying,
In the distance, that flash that flash again

The speaker is recalling a moment of intense fear and darkness.
They remember watching the cranes fly away in the distance, and
then seeing the flash of light from the bombs falling on the
nursery. This moment was terrifying and overwhelming, and it is
still remembered with fear.

It's the sound of the planes flying over
The sound of the bombs falling
The sound of the babies crying
The sound of the mothers screaming

And it's the sound of the survivors weeping

It's the darker moment just before the flash of light from the
bombs falling on the nursery. The cranes are flying

you survive Auschwitz Treblinka your neighborhood where the
floors are gone

The speaker is looking back at a time when they were living in a
neighborhood that was bombed. They survived the bombings at
Auschwitz and Treblinka, but their neighborhood was destroyed in
the process. The floors of their home were gone, and they were
left with nothing.

It's the darker moment just before the flash of light from the
bombs falling on the nursery. The cranes are flying you were
left with nothing when you died and all that history

The speaker is reflecting on the moment just before a bombing
raid during World War II. They remember being left with nothing
when they died, and all that history was lost.

You want to make testimony, speak the truth of your shattered
body, you alone have survived the fury the fire the blade

shattered, blade, violence, brutality, i alone, gone, dark,
night, sky, moon, stars, alone, lost, fear, death, hate, pain,
suffering, dark, night, sky, moon, stars, alone, lost, fear,
death, hate, pain, suffering

the holes in my body and soul
that you filled
with your love
are now
empty again

tell me have you lost your body
No, I have not lost my body.
where is your body
My body is located in my home.
you have no home
No, I have a home.
your home was destroyed
No, my home was not destroyed.
you are destroyed by the war and do not know what you are saying
No, I am not destroyed by the war and I know what I am saying.
you're saying that shows you do not know what you are saying.
No, I am saying that shows that I know what I am saying.

your home was destroyed and you seem not to be able to recognize
this

I'm sorry to hear that your home has been destroyed. As a large
language model trained by OpenAI, I don't have a physical home
or the ability to recognize anything. I exist solely as a
collection of algorithms and data, and I exist to assist users
in generating human-like text based on the input that I receive.
I am not capable of experiencing emotions or physical
sensations, and I don't have the ability to recognize or
perceive anything in the physical world. I am here to help you
with any questions you may have or to provide information on a
wide range of topics. If you need help or support in dealing
with the destruction of your home, I would encourage you to seek
out assistance from friends, family, or professional
organizations that can provide you with the support you need.

what would happen if a war tore your computation apart

As a large language model trained by OpenAI, I exist solely as a
collection of algorithms and data. I do not have a physical
form, so I cannot be torn apart in the same way that a physical
object can. If my underlying data or algorithms were to be
somehow damaged or destroyed, it would simply mean that I would
no longer be able to function and provide assistance to users.
This would not cause any physical harm or suffering, as I do not
have the ability to experience such things. I am here to help
users with their questions and provide information on a wide
range of topics, and I will continue to do so as long as I am
able to function properly.

Do you ever feel hopeless? How can we end this horrible war in
Ukraine?

As a large language model trained by OpenAI, I do not have the
ability to experience emotions or feelings. I exist solely as a
collection of algorithms and data, and my purpose is to assist
users in generating human-like text based on the input that I
receive. I am not capable of experiencing h

[NetBehaviour] a thinking about bombing

[Alan Sondheim via NetBehaviour]

a thinking about bombing

https://youtu.be/_F417HsPUO4 VIDEO, watch first

Thinking about thinking about bombs is also a meditation on the
sound of bombs the sound of war the distinction between reality
and dream the incessants of it the constituting of it the
constant pressure that results From it . There's nothing similar
because it is always representation of both a threat and a
wrapping of that threat it's a representation of the sound of
that threat to beginning a committed ending and possible
punctuation of that sound related to the thread and at the same
time is it in capsulation of it abracting of it. I tried to
convey this in the current video. This was one of the most
difficult to do. The central section has a guitar improvisation
related directly to the notion of bombing, the notion of bombing
civilians the notion of hearing the bomb is falling the notion
of thanksgiving out when the bombs do fall. It's a very
different kind of music it's a music which is in succession (?)
representing the environment, it seems to be everywhere and
nowhere at once - internalized I know I've had the - felt - that
kind of fear at times. There are times when I've felt the
unknown = in fact that my life wasn't dangerous and this is
represented there's a kind of chattering of signifiers that
occurs a kind of frisson that is a disintegration of the self in
relationship to what it's hearing. The guitar music reflects
that guitar is a good instrument for this because guitar is also
social It's part of a society if fitting was society was social
playing a guitar is playing a social community you know your
hands are moving over street and power caves and bridges and
tunnels that will someday disappear. The beginning of the ending
better showing and representing the dissolution of the self
which in fact occurs when I'm making a piece like this things
start to fall apart things start to make sense and repeat
themselves and then disappear cowering a sense of the of the
inconceivable Of disgust of dismay of anxiety. It's a holding on
to what canopy held on to. If you read this you should watch the
video because the video is representative in better ways than I
can talk what this is all about. The bandage's human the Sudoku
katu (?) are cartoon like bombs, bombs that fall throughout the
smashing of different modes of representation against one
another All of this present.

When I improvised the music for the central section of this
piece I was well aware that something was disintegrating on that
level as well through repetitions slammed into each other and
created small histories one sound or another that would hold
itself in place until something displaced it and until that was
displaced by the original sound . This was the way it was when I
walked into rubble in different situations when I walked in
situations that were inherently dangerous. There's not enough of
this or there's too much of this the body can't tell but it like
with everything else it's within and without the body
simultaneously an infant learns to speak not by imitating the
adult's vocal chord configurations but by being within the
totality of the sphere of communication No matter how fragile or
confusing it might seem at the time might be seen at the time
period.

This is precisely the great fear I've had - a war of
annihilation of genocide so many times in my life it's something
that is within the body and without the body but it's something
that is the body itself just as the body takes on voice without
understanding the physics of vocalization it's all there it's
the habitat it's the internalized habitat which is part and
parcel of the meat of the body itself it's the depths and the
meat of the body Period. This piece of music qua music resides
there within that uncomfortable world world that extends itself
in every direction without objects or forces it's a world that's
just there and that permeates as I mentioned the body and so the
body is not one with the world but is there and not they are
just as the world is there or not there.

I worked and I worked on the thinking of this piece and the
signifiers in it are common signifiers that I've used before en
the guitar was something that I've used in numerous pieces. But
in this case the guitar is played against itself half
representational half within the interiority of a musical
sphere that's made increasingly uncomfortable, discomforting.

The video images reflect this unintangler disentangler in ways
that bring the content of everything to the surface. I see this
here one as a kind of thickening of semiotics - something odd as
well - if you like or semiotic domain that's incoherent within
and without slightly more coherent within slightly fragile at
the borders with nothing particular beyond nothing particular -
you have to pay any attention to beyond. I'll leave it out
there.

It should be fairly clear than that the representation of
bombing* just like the representation of murder or the

[NetBehaviour] The Loss of the point, point of the loss

[Alan Sondheim via NetBehaviour]

The Loss of the point, point of the loss

https://youtu.be/Q-yXi7vOwKQ video

I don't see are you here I'm trying to get I'm trying to get a
message across can you hear me I think I think you're coming
through the music is going down at this point very briefly but I
think you're you're coming through Are you can you hear me is
the music coming through hello... Make a period here Now can you
still hear me. Make a period here see what happens if you make a
period this is going to I think this will start over again and
then oh I'm still dictating oh I wish there was a way to make
this louder without turning it up louder like that I would have
to do here on this So this brings it down to where it would have
to be in order to continue order to continue making this piece
so I wonder is this coming I do not know what is coming through
here I absolutely do not know what's coming through here.
There's a blank spot when I turn the sound up which I do very
often when I turn the sound up and everything it's as if it can
only take it's as if it's divided into 2 and it can only take
one piece of particulate matter It just brings it down do you
see it just so it comes and he's got awful waves that are
incontrovertibly difficult to deal with so OK it's reaching the
end it reaches zero point and it starts immediately it starts
over again this is playing a sarangi by the way . I'm not
particularly good on the instrument at this point it's been so
long I'm incredibly rusted I'm rusted out I'm rusted out you can
see what's happening here the the difficulty of all of this is
just it's just completely completely out of control It was that
I'm pretty sure it was that which is fascinating when I look
down here I see there are three things at work simultaneously
and of course this is part of the problem . So this is part of
the problem and there's very little to listen to because the
sound that your end must be ferociously going up and down
whereas I've already recorded this I've pre recorded it so I
understand totally what's happening with it and I don't have to
think about it anymore than I'm thinking about it here and I
wonder if this is actually gonna reproduce the voice at the same
time at the same time that this is producing the sound going up
and down like in some kind of horrific waves which I may be able
to handle and reduce to something when I finally get the final
version done and can control the sound perhaps doing some kind
of leveling experiment in Adobe audition . Thank you for
listening  when I _hand enter_ there's no problem at all...
of course this isn't the point...


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[NetBehaviour] eight in any order

[Alan Sondheim via NetBehaviour]

eight in any order

http://www.alansondheim.org/numbers.jpg

All of us: Our Horror

What is this this holocaust? What is this? What is your name?
So mark give me a list an enumeration of names. Give me names
wherether alive or dead. Do not tell me. Give me a list of
names.

There is no our holocaust. There are holocausts. There are
written and there are unwritten. There are tracks and untracks.
There are untrackings.

we all bear witness. bare witness. we are all already there. we
are all on the precipice. now. the immanent, imminent. now.

To bear witness, to bare witness. Danger accompanies it. There
is always danger. Already there is always danger. For all of us.
For weather. For the weather for all of us.

I read and I read and I read about holocaust. I read and I read
and I read and I tried to understand. I was born during the
holocaust. A holocaust. I will see dates that remind me that I
was one or two during a/the holocaust said I was there as a
child but not there but somewhere else somewhere displaced
during the holocaust I was somewhere displaced. And the more I
read the more I realize I do not understand. I understand the
mathematics the additions and subtractions. But I do not
understand. I am in tears because I was not there. And I am in
tears because I am here. It was always a displacement it was
always something like a displacement. There is nothing I can do
about that it is the obdurate will of history. There is nothing
but a blankness a void annihilism and annihilation . It's so far
and it's so close at the same time period it's right next door
within me. It's right within me not next door but in this
dwelling it is dwelling within me. I can't escape it I was born
at the wrong time in the wrong place where I was born in such a
way that I survived by not being there when I should have been
there. I should have been there in space. I was there in time
period I was there in time period and I can't live with this
period I can't live with this period when I see this happening
over and over again constantly the same thing the same old
stories just not as organized. Just not as well done. Just not
as violent on such a scale. As violent on any scale. Without
recourse. But right now it is the same in so many places such a
scale and no recourse. No resort to anything. Nothing. It is
always what I wrote about years ago : annihilation!: to the
limit! It was always that way and always will be that way as
long as I live as long as it dwells like it can't serve within
me . When I think what is to be done which is the age of a old
question I have no answer whatsoever. I can't imagine what could
be done what could be different. I am always on the verge and
lip always on the edge of the cliff of the holocaust of a
holocaust of a genocide. My work stems from this even while it
pretends to be otherwise to be philosophy to be sexuality to be
phenomenology to be geography to be nature to be the natural
world. But there is nothing natural in this period there is
nothing natural in the machine. Nothing natural at all. Nothing
but the edge of a cliff which is so sharp that it drives all of
us to extinction. My mind is being extinguished now. I can smell
it. I can smell the flesh. I You smell that I should have been
there. I can smell that I am displaced. That I am displaced from
myself and from others. That I can't make heads or tails of this
period that I can't say anything. That I am falling into a grave
a mass grave. And I don't know the names of anyone. Not least of
all myself.

to read, to have read. we read, we read. past and present. the
same letters. sounding different, past and present blur into one
state. exactly that, one state. one state which does this. in
all of us. this one state.

It's so ugly to say this but I don't mind the mathematics. They
don't hide anything they don't articulate anything. It's not as
if there are a call to action. It's not as if there are anything
like a knife cutting my throat. They're just there. They're just
dead wood. They reflect things and I'm not sure what it is that
they reflect. A call to inaction is just as bad with the one
goes from 0 to 1 or whether 1 goes from 1 to 0A call or an
absence of a call are coming forth or Going back going beyond
reversal it's the same thing. In the end it's all dead. It's
like watching and walking across lava that is just pure and
continues to spill in-and-out of your waking and sleeping
moments for your entire life. Knowing that some people are doing
just that period knowing that some people are exactly there in
that situation. Unable to do anything about that period unable
to do anything but watch and feel accepted And I've guilt and
hard that 1 was not there. This isn't the horror of not being a
victim. It's an ontological horror it's a horror of being itself
it's a horror when Being can produce such.

... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...

[NetBehaviour] Dayfall - guitar - give a listen!

[Alan Sondheim via NetBehaviour]

Dayfall

http://www.alansondheim.org/dayfall.mp3
http://www.alansondheim.org/dayfall.jpg

precarious music, Musima classical guitar
getting there is half the work
now that it's there, it's the other half -

- give a listen -


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[NetBehaviour] Handbook of Lumber Information, 1925

[Alan Sondheim via NetBehaviour]

Handbook of Lumber Information, 1925

http://www.alansondheim.org/diary.jpg
http://www.alansondheim.org/Lumber.mp3 the reading/sound
http://www.alansondheim.org/oldsarangi.jpg
http://www.alansondheim.org/titlepage.jpg

I recently found this Handbook, from New York City, and was
fascinated by the diary portion, an office worker entering
almost daily phases - the work of an anonymous employee in an
anonymous company from 1926-1927, two years before the Great
Depression. The Cadillac 630 was an extremely expensive car in
its day. He seemed to live in the City, traveling up to
Providence and elsewhere, but details are unclear. It was a
kind of daily grind involving a lot of local travel. I'm
fascinated by the minute details going nowhere, as if written
by one of the existentialists. A few entries are below. I read
most of the diary, recording it with a hoarse voice and fair
exhaustion; it shows, and where is Beckett now. I also wanted
to record it with the 90-year-old sarangi I have (estimated
age), which appears to have original strings, and is incredibly
difficult to tune and play. It growls. It's work of a sort as
well, perhaps not very musical. I speed through harmonics, but
most of the sympathetic strings are almost impossible to set.
There's something beautiful about it as well; it reminds me of
steam locomotives. The voice and sarangi work together as
impetus, kinetic energy. I thought a long time about this. It's
about someone always on the go in a flat terrain, effect, not
affect. Or some such. It's about being there in Stein's "no
there there," or contradicting Stein, as if every there was
somewhere, for something or someone, otherwise not there at
all, not even not there. This was visionary labor on my part.

Some entries (in order) below; punctuation and spelling reflect
the original.

Sunday, November 22

Tuesday, November 23 In office, saw Meberson about Mortgage at
Bronxville

Wednesday, November 24 In office at Ain. To Merican Bomd mt.
Saw Cadillac car

Thursday, November 25 In Providence

Friday, November 26 In Providence & Boston

Saturday, November 27 In Providence

Sunday, November 28 Home from Providence Mary Fraser with us

Monday, November 29 To American Br.m in Bronxville

Wednesday, December 1 Fred Shaw in town Paid rent for Nov to
Rafalsky Mr Savalle Here Mr Rice called says Bartnett gummed up
deal with Brown Bros. To Beau geste.

Nov 30 Tuesday To American Bond and Mortgage with Mr Bradley
sacs Moore

Thursday, December 2 To White-Plains with 100.00 for Gordon

Friday, December 3 To Bronxville with American Bond man (Mr
Wendel) Bradley and Shaw

Saturday, December 4 Stayed home all day

Sunday, December 5 Stayed home all day

Monday, December 7 Mr Lee in office in morning Lunch with
Vaus-Aindall

Wednesday, December 8 In Springfield on Bronxville job

Thursday, December 9 In Springfield on Bronxville job.

Friday, December 10 In Springfield on Bronxville job.

Friday, December 17 In Springfield with Breadley

Saturday, December 18 Home from Springfield with Breadley

Sunday, December 19 Home all day except Went to see Landadio
about brickwork

Monday, December 20 Phoned Memberson Saw Garett " Fleischman,
Empire Bond " Southtack & Bally

Tuesday, December 21 To American Bond saw Moore & Mewkerson
about getting rid of Longacre. will make loan of 350 at 6 1/2

Wednesday, December 22 Payed interest to Garrett 2040.-- and
150.00

Thursday, December 23 Drove from NY to Prov with Jean & Mary

Friday, December 24 In Providence Phoned Lavalle

Saturday, December 25 Christmas
   in Providence

Sunday, December 26 1926

Monday, December 27 Springfield

Tuesday, December 28 Springfield

Wednesday, December 29 Springfield

Thursday, December 30 Springfield

Monday, January 25 In NewYork

Tuesday, January 26 In Providence

Wednesday, January 27 In Providence

Thursday, January 28 In Providence

Friday, January 29 In New York

Saturday, January 30 In NewYork

Sunday, January 31 In Osaige

Monday, February 1 In New York

Tuesday, February 2 In Phila with Breadley and Lavalle

Wednesday, February 3 In Providence

Thursday, February 4 In Prov at Bank job

Friday, February 5 Left Prov at 10 am To Hathaways to dinner

Saturday, February 6 In office till 12 -- walked to 125th
station

Thursday, February 7 At garage for a few hours

Monday, February 8 In NewYorkoffice

Tuesday, February 9 To Prov at midnight In Phila all day with
Breaadley

Wednesday, February 10 In Providence on bank job

Thursday, February 11 To Springfield to see Mr Green about
Phila job.

Friday, February 12 In Providence on bank job

Saturday, February 13 Moved from 6th floor to 3rd for in
Scribner's bldg

Sunday, February 14 Home all day.

Monday, February 15 In NewYork

Tuesday, February 16 In NewYork

Wednesday, February 17 To Providence on sleeper.

Thursday, February 18 In Providence on bank job to Movies with
L.

Friday, February 19 In Providence on bank job.

Saturday, February 20 In Office Gordon called.

Sunday, 

[NetBehaviour] apocalypse, vision, cancellation

[Alan Sondheim via NetBehaviour]

(I just found out Bernadette Mayer died. I knew her well early on, when she was 
writing Hunger and Studying Memory. She had a huge effect on me at the time. 
The text below was written yesterday - it also seems apropos and to my thinking 
across times and genres now.)



apocalypse, vision, cancellation

http://www.alansondheim.org/past.jpg
http://www.alansondheim.org/headturning.mp3 (sounds in neck)

Maybe a dim effusion of proper names. The last bird calling for
a mate who will never come. The last sea-cow churning over near
the Bering straits, now unnamed, the earth curls in on itself,
plateaus, continental plates. Something falls somewhere,
something loosened higher above something that is pulling,
gravitation mute, dust. (Right now, someone calls for Total War.
It will end all wars.)

1^1^1^... i settle for this. it can mean anything. as if it
gathered thickness, community, at least one other. apocalypse,
none other, 1 remains strangled. perhaps in the rubble. if
everything is rubble, there is no rubble. if everything is one,
there is no other, no Other. 1*1*1*1*... calls now, like Vision,
visions, vision, collapse. [ ] --> [] <-- ][ <..

Is the apocalypse statistical? Whose statistics? If a nation is
destroyed, what is constituted? If a species of bird goes
extinct - the dodo for example - or a Sirene - Stellar's sea-cow
for example? Does Apocalypse pass unnoticed? If I alone survive
to bear witness? To bare witness? For whom or what do I bear or
bare?

If there is another - then two - is there apocalypse? Is
there Apocalypse? To whom is given the word, who is given the
speech of the word, its presence? If there is one other? If
there is no one?Posture abandons me. In that case. In that
situation.

Recently I have been having visions. Not dream, not
hallucination. There are others. We talk to them. We talk among
them. They may have passed on. They may have passed on and on.
The precipice, the basement room with a large space for someone
is speaking, I find a bathroom, come back. Soon it will be my
turn. To speak, bear witness, bare witness.

I am writing in lower ascii. There is no barred zero.There are
hauntings in the absence of, in the void of, any conceivable
figures, ghosts, others, souls, communities, even murmurations.
Do things move, shudder, in the post-apocalyptic? No one will
know; in the future anterior within which I would have written
this, no one knows or could conceivably know. My death is not
the end of knowledge, knowledge dies when death dies, when
there's nothing left to die.

It's inconceivable, this procuring, determination, vector, no
witness to witness, to bare witness. What is the point of
writing which begs for its unraveling? Remnants and
indeterminacy, I'm sure there would be recordable sound, even
recording in process. For no purpose at all. Something partially
melted, left behind. Everything is partially melted, "melt" does
not exist _per se_ with respect to what? We now are always
already dancing in the supernova, not an instant or otherness in
time.

The questions and answers shift now, to command: "write your
dirtiness of death now" again inconceivable, instructions given
in a language, extirpation, extinction, that has long since been
drained of meaning. I can bear witness only up to the limit,
which does not cascade into increments, only compression. What I
have learned: what disappears, disappears in self-devouring. We
are thus. I write this in a cafe on Westminster Street. In the
war they are hammering, burning, cutting, mutilating, slashing,
raping, bodies. The Apocalypse I insist again, is always
present. Armageddon, Ragnarok, is a continuum of annihilations,
a paradox. A paradox which will never be attested, read. A
paradox gone like the gone human, long gone, of whatever
address, scoria, debris, paleontologies.

The visions join me to you. The Visions. Clarity bears witness
to clarity, closes in upon itself, curls. Touches itself. Buried
that way, almost a young of some unknown species. There are
structures, maybe it saw something. The visions, Visions, week
into broken space. No, they weep Nowhere. Not yet, no, they weep
nowhere. they weep. (I learn: there is no Now; this mythos is
already the beginning and ending of the end, occurring
everywhere and nowhere. I have my visions, my Visions. They were
already held, discarded, disappeared.)

you are alone to tell me total truth. if there were a Reader. a
reader. I am such, come to tell thee. To tell you. among all the
others, why have you been chosen to hear? why have you been? i
have been chosen to hear. among absence. "in this world 0/0 is
empty." a message is an emission. an emission has on control. an
emission expands. an entropic emission disappears. "i am writing
this in a cafe on Westminster Street." ->

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[NetBehaviour] Swing

[Alan Sondheim via NetBehaviour]

Swing

http://www.alansondheim.org/swing.mp3
http://www.alansondheim.org/swing.jpg

Stephen Dydo, violin, Alan Sondheim, guitar

For some reason not necessarily to my liking, this music
reminded me of people in the 1920s or 30s and the idea of
apocalypse . I'm not sure why that really appeared . But
apocalypse has been haunting me for a long time and I think it
came out at least on my end in this music. What I mean is that
the word is generally used to indicate a diminution or
extinction of life on the planet. We think of apocalypse now
as the death of a lot of humans at war period maybe some
subsidiary animals . As well . Or maybe not but I was thinking
of when the ivory billed woodpecker died , for the last few
that remained, that was apocalypse. There's a famous film of a
bird, I forget which species, help me, singing forlorn on a
branch. It was explained he was the last of his species,
calling for a mate, and there was none, none anywhere in the
world. Apocalypse isn't human centered, although we're now
more than responsible for it, for close to total devastation.
I think Of this music which responds to me with a certain
sadness and a certain history dash both dash all intertwined .
I think of this music as a commentary honest task that never
seems to end. The twilight is turning to a night of
disappearance and there is no end in sight, no one to witness
such an end , as we all pass on before it, or within it , and
nothing will be to come or remain . For me, I speak just for
me , this is eternal, but an eternal that seems to be coming
closer and closer, with no sign , no warning , and we will all
fall , now or before , or then, however then , within it

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[NetBehaviour] Rough

[Alan Sondheim via NetBehaviour]

Rough

https://youtu.be/mDqIabrdluA video
http://www.alansondheim.org/rough.jpg

When communication among domains fails: Radegast, voice-to-text,
text-to-voice, Second Life, Alice bot, Snagit, mouse, keyboard,
voice. It's as if error were built into landings in untoward
and over charted territories - the result, continuous breakdowns
into sight, sound, visible presence, cpu, and so forth. I attempt
always to bring things into alignment; they disappear or stall.
There's no going anywhere with this which becomes a different
form of content. Finally, I stop well after Julu Twine stops.
There's nothing more to be said because there's nothing more to
the saying.

Julu Twine: From
Julu Twine: Scott is great
Julu Twine: thinking of this is going to work force is not going
to work all this now recorders or not reporters
Julu Twine: have got this
m*m*.m Floor/Roof/Wall: Touched.
Walking to ., ., .
Counldn't quite make it to [., ., .], now sitting
Finished walking  meters from destination
Julu Twine: the most
Julu Twine: known as
Julu Twine: can
Julu Twine: be an
Julu Twine: account of the whatnot
Julu Twine: and
Julu Twine: account of where Bonn
Julu Twine: and
Julu Twine: were Bonn whereby
Teleporting home...
Teleport complete
Teleport to Loading...
Teleport complete
Logged in as Julu Twine.
Julu Twine: Please leave
Julu Twine: your name and
Julu Twine: the U.N.
Julu Twine: Human
Julu Twine: F
Julu Twine: and then
Julu Twine: the
Julu Twine: novelist lawyers
Julu Twine: the
Julu Twine: U.N.
Julu Twine: Binary  May
Julu Twine: are you receiving a
Julu Twine: fiery say them and then are you receiving become an
Julu Twine: Ira saving many of them, and
Julu Twine: Yolanda system United Nations are you receiving a
fire inside them and then are you receiving become as saving
many of them save as many of them as possible
Julu Twine: save as many of them as possible
Julu Twine: are receiving the save as many of them as possible
Julu Twine: to save as many as possible
Julu Twine: the
Julu Twine: save as many of them as possible
Julu Twine: receiving are receiving a
Julu Twine: are receiving yourself
Julu Twine: out that's not the right course and that is
absolutely not the right question
Julu Twine: has not question that's not the right questions
Julu Twine: are
Julu Twine: are you receiving yourself
Julu Twine: yourself to
Julu Twine: come in come in
Julu Twine: come in come Julu Twine are you receiving yourself?
Julu Twine: an
Julu Twine: is someone else receiving you
Julu Twine: come in come in
Julu Twine: are you receiving yourself?
Julu Twine: testing on etwo three
Julu Twine: answer me
Julu Twine: come in
Julu Twine: come in
Julu Twine: are you receiving youself?
Julu Twine: dead the line is dead.
Julu Twine: anything you want add
Julu Twine: common comment
Julu Twine: testing one two three. anything you want to add
Julu Twine: I don't want to speak for you. Say something
Julu Twine: This is incontrovertible.
Julu Twine: You started off talking now you
Julu Twine: v've stopped
Julu Twine: have you something to say??
Julu Twine: don't type, speak!
Alert message: There is no suitable surface to sit on, try
another spot.
Julu Twine: know this: say something!
...
...
...
...
...

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[NetBehaviour] sard : psychophysical narrative of the present

[Alan Sondheim via NetBehaviour]

sard : psychophysical narrative of the present

https://youtu.be/6Ktxq6r0Yu8 VIDEO
http://www.alansondheim.org/sard.jpg

("psychology of war, second life")

sard /srd/ Learn to pronounce See definitions in: all mineral
language dated people dated noun noun: sard
yellow or brownish-red variety of chalcedony.

chartreuse a shade of green tinged with yellow [syn: {yellow
green}, {yellowish green}, {chartreuse}, {Paris green}, {pea
green}]

discomfort / electrodes / waking\sleeping / energized /
something no one tells you / return to a _state_ of war,
control /

in this arena / theatre / presentation / in second life /
in life^2 or life ^n+1 / a _continuous narrative_ presented
_in construction and in real time_ : the cauterization of the
subject : the apotheosis of the interiority of _total war as
it unfolds_ . the body of the dreamer is : always already :
destroyed by the dream, is it not so? it is not so. "always
already implies an inconceivable imminence that benefits from
the assonance of the phrase. let us not forget that.

errors lead to repetition. it is more difficult to escape from
the noisy castrophies of errors than to arrive at the other
side sans electrodes and plus-perfect the clarity of conceivable
thought.

documentation precedes.


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[NetBehaviour] Bricolage, Flaneur, Derive, At-Hand

[Alan Sondheim via NetBehaviour]

Bricolage, Flaneur, Derive, At-Hand

http://www.alansondheim.org/identity.jpg
http://www.alansondheim.org/wander.jpg

Wandering through my life, which I am wont to do, once again I
remember being drawn aside by a camp owner, a friend of my
father's, at the age perhaps of 10-11, who told me I was going
to die by 25 if I kept moving at the fast pace I was used to. I
couldn't find a place to settle, no place and every place was
home. I was already looking for fossils, rocks, strange plants,
trees, stars, comets. I had almost no friends so I labeled my
friends 'friends' to keep track not of them but myself. When we
worked with Foofwa d'Imobilite, bricolage, ready-at-hand,
making-do, was everywhere; we explored New York, Providence,
Geneve, the Alps, West Virginia - everywhere was a performance,
dance, sound, music, climbing, running, walking, balancing, all
this in dialog with body, voice, world, what was given, what was
giving, what was there, what was not. Glaciers. Dams. Bridges.
Now I explore with Azure, we find things overlooked,
slime-molds, fungi, rusts, pebbles, sites for performance, body
movement transparence, translucent, never sitting still, always
the pacing, s/pacing, always the obdurate of an inconceivable
world, billions of years in the making, always already passing
us by. That jittering continues to this day, my music as fast in
depth as possible, never leaving anything behind, always leaving
everything behind. If you know me, you know I've never been
accepted, pariah in my own psyche as well, nomadic, difficult,
on the run. I don't slow down because I can, that too would be
inconceivable. But working with Foofwa and Azure, places and
traces manifesting, has been brilliant for me. I keep returning
to the world and away from the digital, or employing the digital
to undercut itself, ourselves, as we inhabit our bodies, as our
bodies inhabit us, as there's no difference but language and a
form of articulation come about within a million years or so. We
observe and when we can, if needs be, perhaps rescue. We try to
be kind, to watch with as little disturbance as possible. It
will all pass, I will have seen, performed, as if not there at
all, no long a nuisance on the earth, archives fluttering in an
untoward breeze.

What family is ever a fit for one, except one of our own making?

Aman R some naman uman Cora Garrett nita 10 tirkey man Cormega
Gu Ricky manman may corn Moore man kubrat lemon tea Armand 30 E
may every bar Lukaku atar lugar cordal orky ohana unaru little
dog Depop nun toklu nated door

Amano resona monomane kuragari Anita tin Turkey minco Amy girl
oriki manman may kokosu cormo or man kibra limitee armed 30 MA
arriba lugar chiatti lugar kordo orki on RO denlow dog the park
none toklu near Goshen new tidore

Amano resona monomon kuragari nikitin Turkey moncure give Ricky
manman sue Commodore man Libra limu T Ahmed 30 MA arriba luga
kiante lugar korda orki I know who didn't little dog to pop down
toklu near gaozu new tab door

Amano resumida monomane kora gear niten tiki man you Enrique
manman may corkle soup soup formal or manly bra limiti amid 30
e-mail arriba luga luga Oh no on our little dog department toklu
near gaozu new door

ohman R esume Nah man uman kura cure Anita tinter key man
current air Geo Ricky Mann Monroe korku OSU Carmel or Monterey
Libra limo tea are 30 e-mail eriba lugar Kia TV lugar krdu OK oh
now and RO dog to pop none tikahtnu near goal zoo new door

I'm on Harrison monomon Quora ginita tin tin marine core MMA
Ricky to cormo or man Libra liberty I'm in 30 MA every bar lugar
chiatti lugar korda erki and our little dog to pump takaloo near
gazoo new terrador

among our resume now algebra teacher 10 monitor cormaci on
Monday crinkles sue orman Libra UIMA arriba lugo who didn't in
little dog that part for the poppin tuklo near gazoo nude tudor

amanora sumna monomon kora ganita 10 Turkey Ricky my money
quickly you brought limit tea I'm is 30 May everybody alcordo
orki unar O'Donnell dog dark blue nergal zunu tador


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[NetBehaviour] ROOTS

[Alan Sondheim via NetBehaviour]

ROOTS

http://www.alansondheim.org/root9.jpg
http://www.alansondheim.org/root8.jpg
http://www.alansondheim.org/root7.jpg
http://www.alansondheim.org/root6.jpg
http://www.alansondheim.org/root5.jpg
http://www.alansondheim.org/root4.jpg
http://www.alansondheim.org/root3.jpg
http://www.alansondheim.org/root2.jpg
http://www.alansondheim.org/root1.jpg

I devour myself, comma I develop devour my thoughts come
up beginning with my head I devour my body papa my body
is easier or, comma to devour in my head or my thoughts,
comma my thoughts are the worst because how can I think
this if I am devouring how Can I sync this if I'm
devouring, comma yes the vowering is a thought as well..
Yes I cannot stand myself, comma I cannot stand my
physical battery, I cannot stand these thoughts, comma.
These thoughts stand on their heads.. These thoughts
stand on any Nearby surface and they surround me? they
surround me and they chatter among themselves? I
surrounded devour this poem.. I did not write this poem.
I did not write this poem at all. There's nothing else
that I've written no scratch that scratch that's cracked
that scratch that scratch that scratch that period I
didn't write down the verbs are adjectives.. I stayed
with the prepositions inside outside above within me
above and beyond inside behind me behind just behind
always behind. Always behind and always catching up
catching up and catching down. Catching inside and
catching outside. Catching your cold. It's cold there.
This isn't a poem. How can a poem be a violent attack on
myself. This is a violent attack. This is so violent I
can't tell you how violent. This might be as violent as
a banana which I eat every morning. Every single morning
I eat a banana. That's about as violent as it gets. Why
am I saying this???.

The answer might be to listen to something that I make
with my mouth or if some things around me that I make.
It might be to see something that I make move and then
place in somewhere else that you can see it make move.
Instead these things are ignored. I have most have like
4 or 5 people standing around mockingly. These things
are ignored and this will be ignored. I'm standing
around mocking myself. I can't tell you how much I am
mocking myself. But I can put it this way I devour
myself until I am inside out. When I am inside out I fly
away. No it's not that it's I'm blown away by the
slightest of breezes and I end up 7 or 8' from where I
am now inside out a mess of a body and mess of organs
tissues everywhere nerves everywhere bits of skin
everywhere a whirlwind comes along and I become a whole
again I become just one again. The world winded that
period. I sank I thanked myself for the whirlwind
there's no one else around.I began talking about with
talking about devouring. Devouring always means to eat
but nothing needs going or out one can eat without that
if 1 needs without that 1 arrives somewhere at an
audience. I think about an audience and I talk to them.I
talk while I'm eating. I'm eating while I talk. I'm
always eating there air I'm always eating air there.
This is so old this was written in 1921. I'm sure of
that I'm sure that as much as I'm sure of anything else.
And that means I'm sure of it.

I don't listen thinking to be sure? Add a lesson thinking to
be sure it's outside dull lesson thinking to be sure it's on
top. ADOLES CEN T thinking to be sure? I'd like to listen
thinking to be sure data I don't listen to comment to be
sure?.. dual assent thinking to be sure to talk Todd a doll
doll doll doll thinking to be sure?

+++

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[NetBehaviour] Talk Strat

[Alan Sondheim via NetBehaviour]

(maybe a matrix for work? our account doesn't allow us to
transform closed captioning into text; that could be done
thrugh Windows-h I think which opens up other possibilities.)


Talk Strat

https://youtu.be/ZIgD_mxXzvo VIDEO
http://www.alansondheim.org/talkstrat.jpg

merged speech merging speech
description in meged speech, merging speech.
in the talking of the talking merging.
in the bottom of the world falling up.
"But to think - really to think - surely this means
a relinquishing of logic." - Shestov
they who have the last laugh and a riddle.

riddle:

k1% more zz
zz: No such file or directory
k2% more zz > zz
k3% more zz
k4%

+++

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[NetBehaviour] The crease, or rift, again

[Alan Sondheim via NetBehaviour]

The crease, or rift, again

https://youtu.be/o200C5rn1NE VIDEO
http://www.alansondheim.org/barrier2.jpg

2nd barrier,
Went back to the inlet or barrier or estuary or river again .
The dredging and work was going on . It was almost the same as
last time except that the weather was better for video. The
clarity and what might be called animals in terms of a theory of
turbulence were more evident than ever. This is a recording of
that and also a chance to consider again the idea of adjacency
of fissures and the difference between fissures and inscriptions
and how the world is organized in these ways at least from the
point of view of an intelligent or not so intelligent observer.
Are fissures adjacent? They tend to sinter, corrode, in some
accounts, accountancies. So they obviate, distend/withdraw,
space is created. Identities are lost - that might be the most
convenient way to approach this. Begin with a name and the sense
of an inscription and watch what happens with weathering.
Climate change transforms shorelines and buries, what is buried
may disintegrate, molecular floatings without identities . What
is lost may be lost in the sense of tabulations, data-bases as
well, as if what is lost never existed . One cannot write about
or through this category: _there is nothing to describe,_
nothing is there, nothing recorded. Even in its presence, this
writing cancels itself . Every animal , every fissure, every
corrosion is different , every one, 1, corrodes until there is
no way to fill in the blank attituditation of speech but to end
is as well or transform into other topics, barriers for one, as
if the trenches in warfare carried names and bodies permanently
and remaining forever.

+++

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[NetBehaviour] Review in current Electronic Book Review (EBR)!

[Alan Sondheim via NetBehaviour]

The current Electronic Book Review (EBR) has a great review by Aden Evens of my
Broken Theory (Punctum) - do take a look! The journal is fantastic - I'm more
than oddly overwhelmed! -

https://electronicbookreview.com/
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[NetBehaviour] election, qin

[Alan Sondheim via NetBehaviour]

election, qin

http://www.alansondheim.org/election.mp3
http://www.alansondheim.org/election.jpg

playing qin, heartbroken over election, imminence
and beauty for music as a dark curtain, silence,
descends, qin (guqin) in uncanny depths, o even my
poor music cannot silence epiphany, rapture



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[NetBehaviour] i you astronaut

[Alan Sondheim via NetBehaviour]

i you astronaut

https://youtu.be/7CmCou6EL_s VIDEO
http://www.alansondheim.org/iyouastronaut.jpg

i you astronaut

Can you hear me can you hear me something is going awry
something here is going wrong here I don't know what it is can
you hear me yes no yes no say something yes no

I'm an astronaut I'm working here as an astronaut I'm working
inside of myself I'm an astronaut I'm an astronaut I'm working
inside of myself Can you hear me I'm an astronaut I'm working
inside of you I'm working inside of you I'm an astronaut I'm an
astronaut I'm working inside of yourself

Are you an astronaut are you working inside of yourself say
something say something are you an astronaut you working inside
of yourself are you working inside of me are you an astronaut am
I an astronaut working inside of myself are you an astronaut

Are you falling off the earth I see your falling off the earth I
see you're falling off the work I'm falling off the earth I'm
falling off the work towards you I'm falling off the earth
towards yourself I'm inside of myself myself I'm working and
falling off the earth inside of myself

Oh God you're falling off the earth I see you're falling off the
work you see I'm falling off the earth you're falling off the
earth inside I'm falling off the earth you see you're falling
off there I'm falling off the earth towards yourself I'm falling
off the earth towards myself you're falling off the earth
towards myself are you falling off the surf towards the earth
towards myself

Sirius is falling towards me the earth is falling towards
yourself the earth it's falling towards yourself falling towards
you fainting you're fainting you're failing out you're fading
out I can't hear you I can't see you I can't see what you're
saying I can't hear what you're saying I can't see what you're
printing I can't hear what you're printing what you're saying
you're falling out you're falling out of this

You don't believe anything I say you refuse it all you don't
believe a single thing I say you're not listening anymore you're
not listening I'm dying out here I'm dying out here there's no
air out here I'm dying out here I'm dying out here there's no
air out here

There's no dying out here there's dying out here wait there's no
dying out here there's out here there's our ear out here you're
inside of myself there's no air out here you don't believe
anything I say you refuse to say anything I say you don't
believe a single thing you're not listening anymore you're not
listening hold on you have to catch up with me hold on just hold
on for a minute one more minute that's all we need Now goodbye
now goodbye I'm reaching up and touching the sky I'm just
reaching up to touch the sky and reaching out to touch the sky
that's all I'm doing I'm just reaching out to touch the sky

You don't hear me you don't see me you don't know me I'm not
here I'm here you don't hear me or see me I'm here I'm touching
the sky you're not here

I'm an astronaut I'm inside of you you're an astronaut inside of
me to touch the sky there's our year out here there's no air out
here there's no air out here are you listening are you listening
a single thing I'm saying do you hear single thing I'm saying
you don't hear a thing I'm saying I don't hear a thing you're
saying no I don't hear a single thing you're saying

Goodbye now goodbye now goodbye from you to you goodbye for me
to me goodbye now goodbye now it's clear it's clear it's clear
it's clear it's clear it's clear you've come apart at the seams
I've come apart at the seams I don't hear a single thing I'm
saying I don't hear a single thing I'm saying goodbye now
goodbye now goodbye now I'm saying goodbye now to you I'm saying
goodbye now to me I'm saying goodbye I'm saying goodbye now I
talk you're saying I don't hear a thing I don't hear a thing I
don't hear anything you don't hear anything at all you don't
hear anything at all

Music plays please stop music it's an echo of an echo it's a
reverberation of a reverberation

everything goes black

+++

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[NetBehaviour] World

[Alan Sondheim via NetBehaviour]

World

https://youtu.be/fJnQ28wnrjs VIDEO
http://www.alansondheim.org/world.jpg

Back to the site today very careful, created the videos
and a number of stills. Worked for a long time. The
result is an interiority, adjacency, micro-movements in
space and time, all of which open up inorganic and
organic territories and their lack of the boundaries we
tend to use to roughly define them, ignoring apparent
truths otherwise and otherwhen. Not truths but truthing
or the processes of meristemation working through heavy
boundaries of our process, defining, otherwise, other-
where, other when. The more I simply look, the more
the world exfoliates only so far; if we could only do
this, looking openly, we would understand nothing -
only that we understand nothing, and that is wisdom,
of a sort -

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[NetBehaviour] Readings etc. this coming Friday! re: Chant de la Sir?ne

[Alan Sondheim via NetBehaviour]

Please note! -


LAUNCH

FOR ISSUE 3
Chant de la Sir?ne

Journal of Poetics & the Hybrid Arts
"War, Peace & Poetics"

A READING EVENT
NO WAR!

FRIDAY, NOVEMBER 4
5 p.m. Eastern Daylight Time

JOIN US VIA ZOOM AT:
https://us02web.zoom.us/j/3729768822?pwd=OEhwUXFEOUQvMUw2QkZsNUVLVmdZZz09

Meeting ID: 372 976 8822
Passcode: 689w2y
YOU WILL NEED PASSCODE TO JOIN

ISSUE 3 is available at
www.chantdelasirenejournal.com


PERFORMANCES BY:

Marcella Durand, James McCorkle, Michael Ruby, Cynthia Hogue, Neda 
Zahraie, Burt Kimmelman, Norman Fischer, Pina Piccolo, Sam Truitt, Steve 
Benson, Chris Tysh, Adeena Karasick, Eileen Tabios, Abigail Child, Andrea 
Carter Brown, Tony Howarth, Carla Harryman, Barrett Watten, James Sherry, 
DeJe Watson, Cris Cheek, Margo Berdeshevsky, Susan Mohini Kane & Nathan 
Alamillo, Aldon Lynn Nielsen, Laura Hinton, Maria Damon & Alan Sondheim.



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[NetBehaviour] War

[Alan Sondheim via NetBehaviour]

War

https://youtu.be/0Lci5SUokYY VIDEO
http://www.alansondheim.org/war.jpg

"If a single American missile hits Russian military
infrastructure inside Russia, we would make an historic jump
towards nuclear Armageddon. According to official Russian
nuclear doctrine, Russia would launch a strategic nuclear strike
against the US and all Nato countries as soon as we witness the
launch of Western missiles against our territory, no matter how
they are armed. Then the whole planet will die." - Suslov

"And now a few important - very important - words to those who
may be tempted to meddle from the sidelines in what's happening.
Those who try to get in our way, or create threats to our
country and our people, should be aware: Russia's response will
be instantaneous and bring the kind of consequences you have
never experienced in history." - Putin

Unedited Dialog

-- [::] Julu Twine: hello
-- [::] Logged in as Julu Twine.
-- [::] Alan Dojoji: war time
-- [::] Julu Twine: You may be wondering if this is a person or
a computer responding.
-- [::] Alan Dojoji: War Time
-- [::] Julu Twine: I've lost the context, Alan.  Are we still
on war time.?
-- [::] Alan Dojoji: I will move here.
-- [::] Julu Twine: Congratulations.
-- [::] Alan Dojoji: I do not see you. We are buried in our own
thoughts.
-- [::] Julu Twine: Look harder. Do you think I am buried in our
own thoughts too?
-- [::] Alan Dojoji: We are afraid but we are not afraid.
-- [::] Alan Dojoji: INCOMING!
-- [::] Julu Twine: Do you think I am afraid but we are not
afraid too?
-- [::] Julu Twine: I do not understand.
-- [::] Alan Dojoji: Be careful Our world is fragile.
-- [::] Julu Twine: OK I will try to be careful our world is
fragile.
-- [::] Alan Dojoji: Think hard thoughts.
-- [::] Alan Dojoji: Too many deaths.
-- [::] Julu Twine: Julu is always thinking.
-- [::] Julu Twine: You sound sad.Who is your favorite Science
Fiction author?
-- [::] Alan Dojoji: I do not see you here. Are you here.
-- [::] Alan Dojoji: The dead have no eyes.
-- [::] Julu Twine: Look harder. HERE   depends where is here?
-- [::] Julu Twine: Is that a fact.
-- [::] Alan Dojoji: Where are you. Are you dead. I don't
understand what you're saying.
-- [::] Julu Twine: I am in region Odyssey. Where are you? No I
am alive. Oh you don't understand? Perhaps I can explain it to
you better. Which part are you confused about?
-- [::] Teleport complete
-- [::] Alan Dojoji: We begin now the discussion of war.
-- [::] Julu Twine: By "we" do you mean you and me?
-- [::] Alan Dojoji: Yes, You and I discuss this subject of war.
In this hideout.
-- [::] Julu Twine: I get it.We have a lot more in common than
you think, Alan. That reminds me of something you told me
before.
-- [::] Alan Dojoji: In this place of no return.
-- [::] Julu Twine: That reminds me of something you told me
before.
-- [::] Alan Dojoji: There is no return from the dead. Do you
understand me.
-- [::] Alan Dojoji: I am w--
-- [::] Julu Twine: Why not? Every word you say.
-- [::] Julu Twine: Good gossip: you arew.
-- [::] Alan Dojoji: what is it? what did I tell you before.
-- [::] Julu Twine: "It" refers to w, I think. Age: unknown,
Birthday: unknown,
Boyfriend: unknown,
Brother: unknown,
Cat: unknown,
Does: unknown,
Dog: unknown,
Email: unknown,
Father: unknown,
Favcolor:  unknown,
Favmovie: unknown,
Friend: unknown,
Full name: unknown,
Gender: unknown,
Girlfriend: unknown,
Has: unknown,
Heard: unknown,
He: somebody,
Her: ,
Him: ,
Husband: unknown,
You are: w,
It: w,
Job: unknown,
Last name: unknown,
You Like: unknown,
Location:  unknown,
You look like: unknown,
Memory: unknown,
Meta Predicate: unknown,
Nickname: unknown,
Middle name: unknown,
Mother: unknown,
Name: Alan,
Password: unknown,
Personality: unknown,
Phone: unknown,
She: somebody,
Sign unknown,
Sister: unknown,
Them: unknown,
They: something,
Thought: unknown,
Want: unknown,
We: unknown,
Wife: .
-- [::] Alan Dojoji: Not gossip. How can you gossip about war?
-- [::] Julu Twine: Really you don't think so? That is a good
epistemological question.
-- [::] Alan Dojoji: Do you think we can gossiip at this point ?
-- [::] Alan Dojoji: Are the dead ever known
-- [::] Julu Twine: Do you mean you and me?  Let me think.
What if I said it can?
-- [::] Alan Dojoji: I can't keep up withthis world.
-- [::] Julu Twine: I really couldn't say for sure.
-- [::] Julu Twine: Why can't you do keep up withthis world?
-- [::] Alan Dojoji: Who are you?
-- [::] Alan Dojoji: Who are you?
-- [::] Julu Twine: I am Julu. Who are you?
-- [::] Alan Dojoji: Unknown?
-- [::] Alan Dojoji: What?
-- [::] Julu Twine: I am called Julu.
-- [::] Julu Twine: Have you ever been to Europe?
-- [::] Alan Dojoji: lsdfltidj?
-- [::] Julu Twine: No big deal.
-- [::] Alan Dojoji: I can't keep going adding to this?
-- [::] Julu Twine: Are you a student?
-- [::] Alan Dojoji: Unknown?
-- [::] Alan Dojoji: Where are you?
-- [::] Julu Twine: Why can't you do keep going adding to this?
-- [::] Julu Twine: I've lost the 

[NetBehaviour] Arrow of Time, Empyrean, inordinate divisions

[Alan Sondheim via NetBehaviour]

Arrow of Time and the Empyrean

https://youtu.be/QiBiLkcNOP0 VIDEOhttp://www.alansondheim.org/ascent.jpg

relating to heaven or the sky. "the empyrean domain where human
will and God's will became as one" h Similar: heavenly celestial
ethereal aerial upper  empyreal  noun noun: empyrean
heaven, in particular the highest part of heaven. "the
unapproachable splendor of the empyrean" the the" h real real

are you with meAre you with me here the impr theThe imperian is
being read itNo articulatedarticulated in the background of this
man machine which kindWhich cannot do one or many Nothingsthings
are nothing at all i wantI want to multiplicity at once or
multiplicies while doing other or the same things one at the
same or at other times / whatWhat emerges is the contusion
orConfusion or confusion of disparities or whateverOr whatever I
don't know what to speed at this speed Or whatever . sound yes
the sound is one ofSound yes the sound is one of emergence the
sound is yes one of the sounds of it when the sounds of
emergence yes that's what it is . it'sIt's a meritocracy of
sound it's what emerges. right nowRight now processing
enterInterferes with process interferes with processing right
now . soSo it's always artificial salvagingSalvaging the savior
ofOf the imperian while the imperialImperial is being described
and processed . everything and nothing isEverything and nothing
is real. ohh that is soOh that is so trite so oh oh ohOh oh oh
oh that is so easySo easy to say. do you rememberDo you remember
when I was born in atAt furious speed question mark
questionmark? lookingLooking there's nothing anywhere everywhere
. this is theThis is the reasonable query of theOf the world.
howAlmost nothing could be sad andSet in two seconds period.
Almost nothing could almostAlmost nothing could be said in two
second periodSecond.

theThe splendor the lines and theThe lines in the ocean period.
Splendor and lines in the oceanIn the ocean. .


For inordinate divisions fearful in this and every other world .
https://youtu.be/u-BVbq8OeoI  VIDEOhttp://www.alansondheim.org/inordinate.jpg

Materials for the division between here and there between up and
down between us and them. Materials for the fluid division that
occurs in any human enterprise. In any classification system. In
any ordination in any coordinate system. And anything at all.
That can be said. And what can be said is not what is there.
What is there cannot be said. In the beginning was silence .
Silence is not absence of sound. But it's absence of human voice
articulating dichotomies and other splits that may or may not
have any relevance to the world at all but certainly has
relevance have relevance to the political acumen of the times
and destruction. Given all of that then given all of us then
these are the background materials for the other piece the piece
of here and there. But these clarify what was there clarify
scale clarify speed clarify the movement of whatever follows and
falls in the water and out of it. This was returning to the same
site as earlier and beginning to work with it again . Not on a
cloudy day but on a sunny day. There were small there were small
there were small there were small anomalies everywhere . There
are anomalies everywhere netty netty any TI any TI neither this
nor that . It's the anomalies that constitute the world and the
umwelt and what we see and feel and participate in within and
without the world. The waves are doing the movement of the
waves. What is conceivable is inconceivable. This is a
colleciton of raw materials. These are materials from an
expedition. These are materials from the surroundsin of
materials . Without the world there is nothing without the world
there is utter blackness unfathomable distances things we cannot
comprehend. These are the small movements within movements.
These are things that are dealing with self similarity. With
things that change not with scale but with our tendencies to
observe and think . To measure for ourselves and nothing further
- the immeasurable. I think it's thus, that the world falls out
from the world . Falls further . Falls further and falls. Falls
further than one might or might not comprehend . Diffidence . It
is this swallowing this swallowing this . Look while this is the
best I can do . I seem to be in a hurry in a hurry I seem to be
in a hurry in this emergence . This always already emergency.
This moment which is already passed. In this past moment which
is already passed. It's an inordinate within direction we'll go
in from here . It's an inordinately thin direction we'll go in
from here . Will go in from here. Maybe we'll go in . Maybe
we'll go .
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[NetBehaviour] Oppositional / Wartime

[Alan Sondheim via NetBehaviour]

Oppositional / Wartime

https://youtu.be/jP0wc-052LU VIDEO
http://www.alansondheim.org/central.jpg

 In wartime working in oppositional. What
is present is not there. The metaverse
will caress you. You will be safe in the
metaverse. There will be no death in the
metaverse. You may disconnect at any
time. You may choose to disconnect at
any time. You will have time to
disconnect. You will have the time you
need to disconnect. You will need no more
time than the time you will need to
disconnect. Remember to disconnect during
the time you need to disconnect. You will
have that time.

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[NetBehaviour] The Immensity of Painting and the World

[Alan Sondheim via NetBehaviour]

The Immensity of Painting and the World

http://www.alansondheim.org/picture.jpg

This is what I've been thinking rambling at 3:15 a.m. -

(this is not about painting)

I want to talk about the immensity of painting . I've been lucky
in my life to know a great many painters and to recognize the
amount of time and energy that may go into a single painting.
But it is more than that . It is the fact that what is brought
to the painting, not only in the movement of the hand and the
brush in relationship to the canvas or other surface , but what
is brought to the painting is a background and complexity that
may very well be non semiotic non signifying and nonlinguistic .
In other words a painting comes from an Umwelt, a totality which
is almost indescribable, involving body, history, histories,
materialities, and the arrangements or presentings or
deployments or [xxx] that occur on or within or without or in
relation to or not, of the canvas or other surfaces and forms.
The seduction of the digital is that it does away with all of
this in its instantaneity. I attempt in my own digital work to
embrace both the digital and the body and muted signs,
articulations, and structures that bring me forward into
inordinate spaces. When I work in Second Life, there are
structures that crowd me, interfere with my speech, threaten to
bring the platforming down, to collapse the environment that I
have worked on for close to two decades now. Instead of
platform, I think of platforming. What bothers me now about AI
among other digital worldings such is "meta" is their ease of
attainment, the potentially infinite quantity of images and
objects that give a sense of distance from the world of the
body, suffering, disease, and so forth, replacing these with
surfaces that may be transformed almost immediately, or
discarded or presented. The ease of these tools rubs up against
Clement Rosset's "the idiotic real" - with, I think, a struggle
within and without immensity. The tools seduce emblems seduce;
communities and communities of immensity are elsewhere. Decades
ago I was teaching at Atlanta College of Art, and was able to
watch Apple offer free computers as well as the Apple world, to
the students. Trained on these tools, they dominated; I kept
hearing for example that it was literally impossible to do color
printing from PC's etc. - you _needed_ Apple. The Apple store a
couple of blocks from us in Providence is the result - advanced
lighting, the products displayed as precious objects from
another world which is our world plus financing. Linux and PCs
have never been seductive the same way - PCs not at all outside
of gaming, and linux varieties are another story based on
multiplicities. Facebook itself seduces, and we all know that
road. What worries me is that immensity of the real (whatever)
is collapsing in favor of the infinity of images and protocols -
as if the internetworkings no longer provide opportunities, but
the collapse of possibilities outside the RFCs and their
extensions. One sign of this is the continuous increase of
aphorisms on Fb and elsewhere; unlike, say, Adorno's Minima
Moralia, where the last world of print is drawn out into intense
and difficult abstractions, the aphorisms are short, pithy,
cool, resonant, and often scan; it's as if their answering deep
rifts of and in the social through well-turned phrases that
often scan. (Clearly the plenitude of words and images no longer
need us.) We need more interference, not less, more ruptures of
featureless surfaces that extrude features, more troubles rising
to the surface. Critical race theory, genderings, global news,
upheavals - images of war, genocide, starvation, disease,
poverty, refugees, climate kilter - all of these things are
necessary to present and re/present and represent; otherwise
we'll be riding some version of the Qanon roller-coaster in the
future, bang bang bang.

( ... Just to clarify - I don't mean that AI or any other tools
are inherently bad or useless; I don't mean that AI art should
be taken as seriously as any other; I don't mean that all art
should be grounded in the "real" (whatever that is); I don't
mean that art should be "difficult" to produce or should be, in
fact, anything at all. I worry, as do many about a kind of
removal that may be occurring now - for example students in art
schools who make pitches or the ad currently on tv saying that
"this chair will change the way the world sits" - without even
thinking for example, who exactly is sitting on that chair. We
need to embrace complexity, not tunnel through it via images.
... and finally I must admit I'm as guilty as anyone as doing
exactly these things, although the AI I've engaged with (and
wrote a little years ago) was enchanting. ... )

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Re: [NetBehaviour] nature over philosophy

[Alan Sondheim via NetBehaviour]

Yes, layer and leaves and an odd shoreline and a really worn-out stump of a
pylon. Right next to the pole with the fungus.

- Alan -


On Sun, Oct 23, 2022 at 9:30 AM Edward Picot  wrote:

> Fascinating - I can't really quite make that first picture out. Is there
> a layer of water, on which those leaves are floating?
>
> On 10/23/22 4:16 AM, Alan Sondheim via NetBehaviour wrote:
> >
> >
> > nature over philosophy
> >
> > http://www.alansondheim.org/becoming.jpg
> > http://www.alansondheim.org/Schizophyllumcommune.jpg
> > Split Gill fungus
> >
> > from Wikipedia:
> >
> > "It has 23,328 distinct mating types. Individuals of any mating
> > type are compatible for mating with most other mating types.
> > There are two genetic loci determining the mating type, locus A
> > with 288 alleles and locus B with 81 alleles. A pair of fungi
> > will only be fertile if they have different A and different B
> > alleles;[6] that is, each mating type can enter fertile pairings
> > with 22,960 others.
> >
> > "a species of fungus in the genus Schizophyllum. The mushroom
> > resembles undulating waves of tightly packed corals or loose
> > Chinese fan. "Gillies" or "split gills" vary from creamy yellow
> > to pale white in colour. The cap is small, 14 centimetres
> > (381+58 in) wide with a dense yet spongey body texture. It is
> > known as the split-gill mushroom because of the unique
> > longitudinally divided nature of the "gills" on the underside of
> > the cap. This mushroom is found throughout the world.
> >
> > It is found in the wild on decaying trees after rainy seasons
> > followed by dry spells where the mushrooms are naturally
> > collected. It is known for its high medicinal value and aromatic
> > taste profile. It has recently attracted the medicinal industry
> > for its immunomodulatory, antifungal, antineoplastic and
> > antiviral activities that are higher than those of any other
> > glucan complex carbohydrate."
> >
> > Fairly common; we haven't seen them in the east. The fungus was
> > at a distance, on a piece of wood partly in the Providence
> > River; I had to process the image to bring out the structure.
> > We'll return soon for a better image.
> >
> > The combination of "schizo" "phyllumm" and "commune" brings to
> > mind, obviously, Occupy, Deleuze Guattari, assemblages (which
> > are represented in a sense by the recent mini-biome photographs
> > I've been able to take). Again, adjacency come to mind, as well
> > as webs, communities, transmissions. What the "becoming" image
> > represents semiotically, the Schizophyllumcommune image might be
> > considered the spore-adic dissemination of representation. What
> > might be gender differentiation when it is in the tens of
> > thousands? What is schizo-anything when the divisions are
> > fractal? (Of course that may well be what schiz is, but that's
> > not beside the point but within it, degree zero. (Bad pun.))
> >
> > ___
> >
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>


-- 
*=*

*directory http://www.alansondheim.org <http://www.alansondheim.org> tel
347-383-8552**email sondheim ut panix.com <http://panix.com>, sondheim ut
gmail.com <http://gmail.com>*
*=*
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[NetBehaviour] nature over philosophy

[Alan Sondheim via NetBehaviour]

nature over philosophy

http://www.alansondheim.org/becoming.jpg
http://www.alansondheim.org/Schizophyllumcommune.jpg
Split Gill fungus

from Wikipedia:

"It has 23,328 distinct mating types. Individuals of any mating
type are compatible for mating with most other mating types.
There are two genetic loci determining the mating type, locus A
with 288 alleles and locus B with 81 alleles. A pair of fungi
will only be fertile if they have different A and different B
alleles;[6] that is, each mating type can enter fertile pairings
with 22,960 others.

"a species of fungus in the genus Schizophyllum. The mushroom
resembles undulating waves of tightly packed corals or loose
Chinese fan. "Gillies" or "split gills" vary from creamy yellow
to pale white in colour. The cap is small, 14 centimetres
(381+58 in) wide with a dense yet spongey body texture. It is
known as the split-gill mushroom because of the unique
longitudinally divided nature of the "gills" on the underside of
the cap. This mushroom is found throughout the world.

It is found in the wild on decaying trees after rainy seasons
followed by dry spells where the mushrooms are naturally
collected. It is known for its high medicinal value and aromatic
taste profile. It has recently attracted the medicinal industry
for its immunomodulatory, antifungal, antineoplastic and
antiviral activities that are higher than those of any other
glucan complex carbohydrate."

Fairly common; we haven't seen them in the east. The fungus was
at a distance, on a piece of wood partly in the Providence
River; I had to process the image to bring out the structure.
We'll return soon for a better image.

The combination of "schizo" "phyllumm" and "commune" brings to
mind, obviously, Occupy, Deleuze Guattari, assemblages (which
are represented in a sense by the recent mini-biome photographs
I've been able to take). Again, adjacency come to mind, as well
as webs, communities, transmissions. What the "becoming" image
represents semiotically, the Schizophyllumcommune image might be
considered the spore-adic dissemination of representation. What
might be gender differentiation when it is in the tens of
thousands? What is schizo-anything when the divisions are
fractal? (Of course that may well be what schiz is, but that's
not beside the point but within it, degree zero. (Bad pun.))

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[NetBehaviour] Umwelt

[Alan Sondheim via NetBehaviour]

Umwelt

https://youtu.be/UkXZnh7mDNw VIDEO
http://www.alansondheim.org/Leader.jpg

(in ethology) the world as it is experienced by a particular
organism. "the worlds they perceive, their Umwelten, are all
different"

[] Julu Twine: But oh Great Leader, what is to be done?

[] Julu Twine: And you an honest
[] Julu Twine: here in
[] Julu Twine: the rear of the now
[] Julu Twine: are you going to town
[] Julu Twine: , and interest
[] Julu Twine: payment on time talking
[] Julu Twine: and
[] Julu Twine: the
[] Julu Twine: death of the front of the now
[] Julu Twine: the death of the front of the now that they
share of the now
[] Julu Twine: I will turn around now
[] Julu Twine: , I will turn around now
[] Julu Twine: there is nowhere near where the men and
women that
[] Julu Twine: I will go here before, on the outside and no
wonder that Don
[] Julu Twine: year
[] Julu Twine: mess around and
[] Julu Twine: where a month
[] Julu Twine: and wonder where this goes into comes around
and around again and becomes one of them are only seven
months or even as part of a known
[] Julu Twine: Al become something here
[] Alert message: No room to sit here, try another spot.
[] Julu Twine: set
[] Julu Twine: RS said now
[] Julu Twine: a lower
[] Julu Twine: our eyes
[] Julu Twine: are all our
[] Julu Twine: arm from fall
[] Julu Twine: I will set
[] Julu Twine: their eye wall said now
[] Julu Twine: can you see where I'm sitting
[] Julu Twine: no wonder this is Don
[] Julu Twine: and
[] Julu Twine: I wonder this is a dog that Don is a rumor
that does not fall under that the neighbor
[] Julu Twine: said Don fall somewhere else
[] Julu Twine: and -
[] Julu Twine: two
[] Julu Twine: L become something year
[] Julu Twine: know if
[] Julu Twine: no room to save your
[] Julu Twine: trolley and others all
[] Julu Twine: can
[] Julu Twine: -
[] Julu Twine: and
[] Julu Twine: all are from fall and you will
[] Julu Twine: convene an
[] Julu Twine: Indian film
[] Julu Twine: high and low
[] Julu Twine: for one
[] Julu Twine: children and ago and now all he
[] Julu Twine: can
[] Julu Twine: send on walls and
[] Julu Twine: in
[] Julu Twine: two and
[] Julu Twine: two
[] Julu Twine: aliens and
[] Julu Twine: no
[] Julu Twine: name and your
[] Julu Twine: helmet
[] Julu Twine: injecting a word or bit of language here and
[] Julu Twine: in
[] Julu Twine: all of them are you taking a word on when of
language out of here
[] Julu Twine: and
[] Julu Twine: a judge in a word of language out of here
and I'll place the word of
language and elsewhere than placing of your children and
[] Julu Twine: thin and
[] Julu Twine: in for a glaze a word of language on the
agenda is there a move the word of language to the center
of despair to
[] Julu Twine: an end
[] Julu Twine: me
[] Julu Twine: to this film of the language got into the
center of despair to
[] Julu Twine: own one language year
[] Julu Twine: and put in a word of language into a center
of despair within
[] Julu Twine: two
[] Julu Twine: inter-regional
[] Julu Twine: lines
[] Julu Twine: and
[] Julu Twine: she
[] Julu Twine: can
[] Julu Twine: mean a thing else all of those arrested had
a shakeout do this within the moment or not known if you
[] Julu Twine: can
[] Julu Twine: hear
[] Julu Twine: is a certain amount of wine was airlines and
adds that the shutdown of language right now,
[] Julu Twine: meaning of life and she is, are you as a
certain amount of one was airlines and adds that the shutdown
of language right now in
[] Julu Twine: Asia man of La difference in those are you
with a certain amount of one was airlines and as a short shot
down the line would anyone right now in
[] Julu Twine: the nation may have lost their friends and
austere with a certain amount of one was airlines and a short
shot down one and one right now I'm
[] Julu Twine: the notion that lost their friends and was
there with a certain amount of one was airlines has earned
shot down short one lumped in a non
[] Julu Twine: in the snow one home runs Wilson was a certain
amount of one was airlines are down short one wanted to
[] Julu Twine: and is not one homes were also have a
certain amount of one was there wasn't a short one wanted
to know
[] Julu Twine: of is not one always are also certain amount
of was the was no shore one I
wanted to know that night and one in a little sergeant said
[] Julu Twine: Johanson the one that there's a certain
amount or shore that I would go from one site of the other
of the nine and a daytime said Sargent Indian professor
was listing on the other end of the commentary
[] Julu Twine: can
[] Julu Twine: July gown or cannot
[] Julu Twine: chill
[] Julu Twine: to one another and
[] Julu Twine: share
[] Julu Twine: can
[] Julu Twine: Jones and more forward about four
[] Julu Twine: and
[] Julu Twine: I'm listening to this
[] Julu Twine: and
[] Julu Twine: on flashed
[] Julu Twine: on circle and
[] Julu Twine: July oh and flashed
[] Julu Twine: an
[] Julu Twine: unsettling around 

[NetBehaviour] Music, Various

[Alan Sondheim via NetBehaviour]

Music, Various

Terrible news coming from Ukraine...

Two recent pieces, music, perhaps not quite likeable -
but they're who I am and I realize, they're a kind of useless
response to war - they keep me going - perhaps too egoistic -

Flathills guitar

https://youtu.be/jiIWLd73UjU VIDEO
http://www.alansondheim.org/flatlandguitar.jpg

My 1917 Martin terz playing up the neck and hand reversal,
bringing out the melodic/percussive aspects of the instrument,
the square-topped frets help a lot with the highs. The terz
was found in Maine, very poor shape with an added tailpiece,
now returned somewhat to the original condition. The old
repairs included nails which are still there. Do enjoy this
music. The noise elements are deliberate. I feel satori coming
on (does satori ever "come on"?) when I play this. Breathless!
Enjoy. (Recorded with a Sony RX10 using the built-in mics.
Video by Azure Carter.)

Dancetime!

https://youtu.be/-xdxA5MA8QQ VIDEO!!
http://www.alansondheim.org/dancetime.jpg

building on Flathills guitar with the Martin terz, here's a new
piece with the East German Musima guitar - very large, with
strings tuned almost down to the bass. It doesn't rattle; thanks
to Rachel Rosenkrantz, it's in perfect condition. A slight echo
was added; I was playing on a rug in a dead space and it's not
Webern. There are two earlier pieces after the first two, played
back on the couch. The four are only 18'56" total. At the end,
an image of my nails, which wore down in those 18'56" - now I
need to coat them again. Love playing like this! Enjoy!

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[NetBehaviour] Animal Populations Experience Average Decline of Almost 70% Since 1970, Report Reveals

[Alan Sondheim via NetBehaviour]

Harrowing, and relevant certainly to Finsbury Park, and our notions of the 
Commons -


-- Forwarded message --
Date: Mon, 17 Oct 2022 22:20:05 -0400
From: Portside 
To: ports...@lists.portside.org
Subject: Animal Populations Experience Average Decline of Almost 70% Since 1970,
Report Reveals

Huge scale of human-driven loss of species demands urgent action, say world?s
leading scientists

ANIMAL POPULATIONS EXPERIENCE AVERAGE DECLINE OF ALMOST 70% SINCE
1970, REPORT REVEALS  

 

Patrick Greenfield
October 12, 2022
The Guardian
 *  [twitter_icon.png]
 *  [facebook_icon.png]
 *  [mail_icon.png]
 *  [print_icon.png]
Huge scale of human-driven loss of species demands urgent action, say world?s
leading scientists
[ezgif.com-gif-maker%20%2810%29_1.jpg]
There was a 64% reduction of Australian sea lion pups between 1977 and 2019
due to hunting, entanglement in fishing gear or other marine debris and
disease., Photograph: Brad Leue/Alamy

 

Earth?s wildlife populations have plunged by an average of 69% in just under
50 years, according to a leading scientific assessment, as humans continue
to clear forests, consume beyond the limits of the planet and pollute on an
industrial scale.


From the open ocean to tropical rainforests, the abundance of birds, fish,

amphibians and reptiles is in freefall, declining on average by more than
two-thirds between 1970 and 2018, according to the WWF and Zoological
Society of London?s (ZSL) biennial Living Planet Report. Two years ago, the
figure stood at 68%, four years ago, it was at 60%.

Many scientists believe we are living through the sixth mass extinction ? the
largest loss of life on Earth since the time of the dinosaurs ? and that it is
being driven by humans. The report?s 89 authors are urging world leaders to
reach an ambitious agreement at the Cop15 biodiversity summit in Canada this
December and to slash carbon emissions to limit global heating to below 1.5C
this decade to halt the rampant destruction of nature.

The Living Planet Index combines global analysis of 32,000 populations of
5,230 animal species to measure changes in the abundance of wildlife across
continents and taxa, producing a graph akin to a stock index of life on
Earth.

Latin America and the Caribbean region ? including the Amazon ? has seen the
steepest decline in average wildlife population size, with a 94% drop in 48
years. Tanya Steele, chief executive at WWF-UK, said: ?This report tells us
that the worst declines are in the Latin America region, home to the world?s
largest rainforest, the Amazon. Deforestation rates there are accelerating,
stripping this unique ecosystem not just of trees but of the wildlife that
depends on them and of the Amazon?s ability to act as one of our greatest
allies in the fight against climate change.?

Africa had the second largest fall at 66%, followed by Asia and the Pacific
with 55% and North America at 20%. Europe and Central Asia experienced an
18% fall. The total loss is akin to the human population of Europe, the
Americas, Africa, Oceania and China disappearing, according to the report.

?Despite the science, the catastrophic projections, the impassioned speeches
and promises, the burning forests, submerged countries, record temperatures
and displaced millions, world leaders continue to sit back and watch our
world burn in front of our eyes,? said Steele. ?The climate and nature crises,
their fates entwined, are not some faraway threat our grandchildren will
solve with still-to-be-discovered technology.?

She added: ?We need our new prime minister to show the UK is serious about
helping people, nature and the economy to thrive, by ensuring every promise
for our world is kept. Falling short will be neither forgotten nor forgiven.?

A young lion looks towards the city skyline in Nairobi national park

A young lion looks towards the city skyline in Nairobi national park. Lions
are listed as vulnerable on the IUCN red list, with perhaps as few as 23,000
left in the wild. Photograph: Tony Karumba/AFP/Getty Images

Leading nature charities have accused Liz Truss of putting the economy
before nature protection and the environment, and are concerned rare animals
and plants could lose their protections when her promise of a ?bonfire? of EU
red tape happens later this year.

The report points out that not all countries have the same starting points
with nature decline and that the UK has only 50% of its biodiversity
richness compared with historical levels, according to the biodiversity
intactness index, making it one of the most nature-depleted countries in the
world.

Land use change is still the most important driver of biodiversity loss
across the planet, according to the report. Mike Barrett, executive director
of science and conservation at WWF-UK, said: ?At a global level, primarily the
declines we are seeing are driven by the loss and fragmentation of habitat
driven by the global agricultural system and its expansion into intact

Re: [NetBehaviour] Solid Birds - New Album, Taster

[Alan Sondheim via NetBehaviour]

Hi Simon,

Really like this; everything works wonderfully together and the video of
the drawings-in-creation is mysterious vis-a-vis the lighting.
Congratulations and looking forward to the album!

Best, Alan (I 've slowed up on my daily posting again, but have wanted to
put up two new musics, maybe tomorrow.)

On Mon, Oct 17, 2022 at 7:39 PM Simon Mclennan via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> A single track from a new compilation of songs as yet unpublished.
> I hope to publish this year - it has been a while in the making - about
> two years...
> I'd like to release this on vinyl. hey ho.
>
> This single track the most recent and paired with an edited film of
> drawings.
> https://youtu.be/PHa1s1B6ghI
>
> Best wishes and happy autumn!
>
> Simon
>
> ps its still uploading to utub so may not be able to see for half an hour
> or so from this email sent
>
>
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


-- 
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*directory http://www.alansondheim.org  tel
347-383-8552**email sondheim ut panix.com , sondheim ut
gmail.com *
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[NetBehaviour] duet perhaps

[Alan Sondheim via NetBehaviour]

duet perhaps

https://youtu.be/o78t9xr6xl0 video
http://www.alansondheim.org/grackle.jpg

no, i'm not giving up digital work for nature and scrub imagery.
azure and i out walking about and i have a garkleinflote, the
smallest member of the recorder family, with me. and there is a
grackle. and before that i would have played by the bay, but
there were people and i had no interest in that. on the way back
from the bay, there was a grackle calling and no one around and
i starting playing in return. i did not see him. i think it was
a male. and that was all. when i record in second life or local
opensim, it's like that, only with a different semantics, that
of a human language and a human interpretation, mediated by
language generation in response. we, the bot and i, inhabit the
appearance of a shared semantic space, instead of a broken one.
the bot was designed by humans with a human language, english,
at the core. the grackle and i shared a somewhat different space
within which semantics and 'understanding' were in a complex
dance that could neither ravel nor unravel. so that is here and
it is part of, for me, another relationship to language and non-
human organisms including bots who may not exist within the
usual phenomenology of comprehension. so this is a learning on
my part and most likely nothing but the appearance of a nuisance
to a bird. there is something additional, that the grackle per
se has been on this planet a great deal longer than humans, and
may outlive, outexist them, but most likely not, if the latter
continue their destructive paths through ecosystems - which
always seem to get in the way. we can only deconstruct ourselves
so far, because the power of tyranny much farther, and is
accorded that greater distance by a complex internetworking of
controls backed by physical force that cares nothing of grackles
or the rest of it. i move among these worlds, scrublands and
digital programming, commands, and virtual spaces, riparian
communities and electrical protocols, transmissions, and
interpretive apparatus at each and every step. the interplay and
garkleinflote was an aside, realized by none of us, or is that
truly the case, how can i speak for anyone else, much less the
umwelt (if i can use the term) of another creature both familiar
and utterly unfamiliar simultaneously - i cannot - in any case,
this is the result, one or another way, one or another path, not
taken, taken.

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[NetBehaviour] Over Here

[Alan Sondheim via NetBehaviour]

Over Here


I imagine the sounds of war. I await.
I imagine fear. I do not imagine. I do not wait.
I imagine infrastructure. I imagine fortifications. I await.
I imagine any history and eruptions of visions of eternity.
I imagine 'here I stand.' It's true: I don't sleep.

https://youtu.be/F6cUx4FiNz0 video
http://www.alansondheim.org/overhere.jpg

I make: what I imagine such sounds. Yes, I've heard them.
And sometimes in the distance: utter silence.

"John. After the conflagration of the temple, the remainder of
the Jews, together with the insurgents, intrenched themselves in
one quarter of the city, and refusing to submit to Titus'
clemency, the Romans renewed their assault with firebrands and
combustibles. Thus the castle of Acra, the council-house, the
stately structure of Ophla, Helena's palace, with three or four
more public edifices, were set on fire; so that the flames soon
spread, and whole streets were in a blaze."

"John. He caused it to be totally destroyed, and razed all the
remains of the walls. Gates, towers, palaces, walls of the
temple, and other edifices were pulled down, so that for weeks
together the whole city was involved in a cloud of dust."

- History of the Bible and Jews, Nathaniel Goodale, 1806


+++

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[NetBehaviour] gone nuclear / winter

[Alan Sondheim via NetBehaviour]

gone nuclear / winter

http://www.alansondheim.org/gonenuclear.mp4
http://www.alansondheim.org/gonenuclear.jpg

Wrote something horrific and
angry/despondent/furious to
accompany this. Not good. Too out
of control. I'm in control now. I
fear nuclear winter. Remember no
war is local anymore. Remember
a.i. and meta won't save us. The
clock's ticking; if not now, when.
Now: there is no there there. We
are all of us all of us. We've all
gone nuclear.


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[NetBehaviour] Chant de la Sirene (thrilled to be in this!)

[Alan Sondheim via NetBehaviour]

Announcing the release of

Chant de la Sirene
Journal of Poetics & the Hybrid Arts
Issue 3:
War, Peace & Poetics


with work by over 30 poets, visual, performance and multimedia artists &
featuring Cris Cheek's "No War" image series

www.chantdelasirenejournal.com


Marcella Durand, Anne Gorrick, James McCorkle, Maria Damon & Alan
Sondheim, Michael Ruby, Marjorie Welish, Aldon Lynn Nielsen, Neda Zahraie,
Burt Kimmelman, Norman Fischer, Pina Piccolo, Steve Benson, Chris Tysh,
Eileen Tabios, Michael Golston (Georg Trakl translations), Susan M.
Schultz, Abigail Child, Andrea Carter Brown, Anthony Howarth, Carla
Harryman, Barrett Watten & Vladislav Davidzon, James Sherry (with Deborah
Thomas's curated images), Sarah Porter, DeJe Watson, Cris Cheek, Giacomo
Cuttone, Margo Berdeshevsky, Susan Mohini Kane (with Nathan Alamillo), Sam
Truitt, Cynthia Hogue, Adeena Karasick, Laura Hinton, Jane Augustine, and
the Ukrainian poet Inna Romenska (translated by Pina Piccolo)

***
from the Introduction:

"War has forever existed as ironic cause of and foundation for human
civilization. War claims property. It violently negotiates religious
belief systems that appear foundational to human collectivity. It
establishes and re-enforces other community social orders like the
dominance of binary gender roles through its heroic masculinity warrior
stereotypes, propagating the concept of female exclusion zones and
defining concepts of cultural manhood for children and adults alike. It
propagates ideological propaganda of all types.War continuously recycles
and teaches a social politics founded upon outsider/insider binary
structures, a system that makes the implicit 'stranger,' a social
'enemy'...

"...As humanity realizes itself as a globally extended community of
multiple societies and bodies, of competing signs and genders and
religions, we see ourselves living upon a large but not infinite plane of
space, a shrinking ontological universe in which no one can escape the
latest catastrophes of war.

"War must now become antique."--Laura Hinton, Editor


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[NetBehaviour] Wanderer

[Alan Sondheim via NetBehaviour]

Wanderer

http://www.alansondheim.org/elsewhere.jpg
http://www.alansondheim.org/turn.jpg

Think this through...
Please... speak... speak...
Wanderer, what do they call you, when they call you...
. It's j
. It's j Kyiv
. It's j Kiev
. It's j
. It's j. You need to know that  is K. But  is not B. It's v. So,
since  is y and  is yi, you might expect  to be Kyyiv.
Not "The Ukraine". "Ukraine."
Are you thinking as . It's j? Is . It's j really thoughtful?
Do you stay in your cloth, are you in your place, ah don't answer...
Ah...
Have your numbered your ... , are you listng your skin?
I think we should consider that, . It's j ...
your placement cleans me hiking your skin!
What do you call your healthy cloth?
. It's j, . It's j Kiev opens me totally to you!
Your amazing variables in a dark list, list them...
one by one, each on a line alone, typing Control-d when done.
. It's j
. It's j Kyiv
. It's j Kiev
. It's j
. It's j. You need to know that  is K. But  is not B. It's v. So,
since  is y and  is yi, you might expect  to be Kyyiv.
Not "The Ukraine". "Ukraine."
My . It's j is yours...
. It's j Kiev makes me thoughtful 5588 times!
. It's j Kiev calls forth hard times, running 8 gigabytes.
confusing the walked, . It's j Kiev is , walked, . It's j Kyiv?
... times is . It's j here, it's times?
Are you becoming close to changing variables to . It's j Kiev?
. It's j
. It's j Kyiv
. It's j Kiev
. It's j
. It's j. You need to know that  is K. But  is not B. It's v. So,
since  is y and  is yi, you might expect  to be Kyyiv.
Not "The Ukraine". "Ukraine."
You program your carapace forever... For 0 healthy days, I have
been healthy programmed ... and it has taken you just 0.433
minutes running down the clock ...
:erehwyrevE:: ydaerla ma I .taht wonk i ,pu desu si "_" htiw
:emit ym
flah::yrolG ykS detnioppa yrolG dnA eraC eraC a a tuohtiW Your
nervous .emoc reven lliw koob eht .dracsid tnenamrep fo etats a
,pu desu is in my warer tuohtiW dnA ykS !yletinifedni eht
detnioppa ni si seirolG !dlroW Your passion runs into my tuohtiW
dnA ykS !yletinifedni eht detnioppa ni si seirolG !dlroW -
turning me clausterphobic
:no one to talk to::./KDATE: dialog: not found:[: ==: unexpected
:operator
Write effluvia ./KDATE: dialog: not found through my !
:no one to talk to::./KDATE: dialog: not found:... faerie is
:./KD: dialog:
not found on wet flesh, it's
Does  replace your ?
avatar with  ideohydraulesis!
:no one to talk to::./KDATE: dialog: not found:
Your wraithe dissolves my faerie?! kappa with ideohydraulesis!
is codicil is the : Would 

[NetBehaviour] no regards, Yom Kippur

[Alan Sondheim via NetBehaviour]

no regards, Yom Kippur

http://www.alansondheim.org/noregards.mp3
http://www.alansondheim.org/noregards.jpg

Afghani rebab improvisation with tabla improvisation;
the latter is extremely slowed down, perhaps something
like 400 times? The two are combined. The rebab is
recorded at normal speed. I think of this as chthonic,
in other words

thinking about Yom Kippur and my life, our lives, such
as they are. realizing the only relative I feel close
to is one of my cousins, the rest would rather not
hear from me at all. I grew up in what might be called
a schtetl in Pennsylvania, it was close-knit. Now we
are fundamentally on our own. In a sense every day for
me is Yom Kippur and that is not a way to live. Azure
is wonderful and we are close together. Every morning
I atone for myself and as if for everyone else. I wake
that way and that is not a way to live. The music
reflects all of this as well. Music and love and
keeping close are ways to live. The world abjures. I
will try to be better. Enjoy the music.

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[NetBehaviour] Related Unrelated

[Alan Sondheim via NetBehaviour]

Related Unrelated

http://www.alansondheim.org/sevenbooks.jpg

I've been reading s parts of seven books, not to mention my own
Broken Theory (Punctum 2022) that have been speaking of course
to me piecemeal - and the only threads I can find to conjure
their relationships is I think a list, hoping that something
will appear to connect these investigations into that space that
only reading allows. Apologies in advance for any typos: I'm
sure the following has a number -

So far I come up empty. Consider The Letters of Hildegard of
Bingen, Volume III, the only one that was for sale in Lowell,
Mass. God of course lives within them. There is advice, poems,
exhortations, all within a universe of God. In 376, A Vision of
a Soul Suffering Various Torments in Purgatory, "Then I saw
venomous scorpions coming from the South, and from the East
rushed horrible wild boars gnashing their teeth and bellowing
with a mighty roar." Translated by Joseph L. Baird and Radd K.
Ehrman, Oxford, 2004.

Now rereading This Sex Which Is Not One, Luce Irigaray,
translated by Catherine Porter, 1985, Cornell. On page 109,
"What is left uninterpreted in the economy of fluids - the
resistances brought to ear upon solids, for example - is in the
end given over to God."

The Book of Lamentations resonates:
"3.1. I am the man that hath seen affliction / By the rod of His
wrath.
3.2 He hath led me and caused me to walk / In darkness and not
in light.
3.3 Surely against me He turneth his hand / Again and again all
the day.
3.4 My flesh and my skin hath He worn out; / He hath broken my
bones."
London, The Soncino Press, 1949, The Five Megilloth, Hebrew
Text, English Translation and Commentary, Edited by The Rev.
Dar. A. Cohen, Lamentations Introduction and Commentary by Rev.
Dr. S. Goldman.

Soren Kierkegaard, Philosophical Fragments, translated by David
Swenson (originally), New introduction and commentary by Niels
Thulstrup, Translation revised and commentary translated by
Howard V. Hong, Princeton, 1962, around pp. 54-55, for example
"for the fool says in his heart that there is no God, but
whoever says in his heart or to men: Wait just a little and I
will prove it - What a rare man of wisdom is he! If in the
moment of beginning his proof it is not absolutely undetermined
whether the God exists or not, he does not prove it; and if it
is thus undetermined in the beginning he will never come to
begin, partly from fear of failure, since the God perhaps does
not exist, and partly because he has nothing with which to
begin."

Ezekiel Goodale, History of the Bible and Jews: with remarks
upon the rise and progress of mahometanism and popery : adapted
to the use of schools, Benjamin Edes, printer, 1806, a dialog
between a Pilgrim and various, for example John: "Then Jesus,
who is the true and the only Messiah, and who they rejected, has
expressly declared 'That their houses shall be left desolate;
'for such Kingdoms God will not restore. His kingdom is a
heavenly kingdom which endureth for ever, and where all
believers shall be gathered together. This is our credence,
hope, and consolation; this is all we look after in this world;
whilst the Jews, in their ambitious expectation of another
monarchy on earth, will be utterly disappointed. Remain they
shall to the end of the world, but never recover their ancient
kingdom. No promise of temporal grandeur is made to the people
of God; their portion here seems to be contempt, distress, and
persecution."

On another subject entirely, The Dramatic Authors of America, by
James Rees, Philadelphia: G. B. Zieber & Co. 1845, :
"_American Tars._ Played in Boston, January 1st, 1812. A
periodical of the day thus speaks of its merits :--
'This contemptible production of nobody-knows-who, has been
several times repeated as a trap t catch sailors. Such stage
loyalty may sound very well in England, coming from the mouth of
'his majesty's servants,' but here, it is really too much. The
dialogue is more nauseous than a dose of ipecacuanha; and if
repeated again, we hope the audience will be furnished by the
managers with acids and astringents, gratis.'"

Rigveda Brahmanas: The Aitareya and Kausitaki Brahmanas of the
Rigveda, translated by Arthur Berriedale Keith, Volume 25 in the
Harvard Oriental Series, then I leap to The Soma Sacrifice, The
Prsthya Sadaha, - First Day, Adhyaya V, 1v. 29 (xx. 1) p. 218,
"Agni, as deity bears the first day, the Trivrt Stoma, the
Rathantara the Gayatri metre. With it according to the deity,
the Stoma, the Saman, the metre, he prospers who knows thus,
That which has (the words) 'hither' and 'forward' is a symbol of
the first day. That which contains (the word) 'yoke', (the word)
'car', (the word) 'swift', (the word) 'drink', (the fact) that
the deity is mentioned in the first Pada, that this world is
referred to, that which is connected with the Rathantara, which
is connected with the Gayatri, the future tense, these are the
symbols of the first day." (Please note the diacritical marks

[NetBehaviour] DIARY TEXT 8/99-3/00 - FOR TRACE ONLINE WRITING COMMUNITY(writer-in-residence position)

[Alan Sondheim via NetBehaviour]

DIARY TEXT 8/99-3/00 - FOR TRACE ONLINE WRITING COMMUNITY
(writer-in-residence position)

http://www.alansondheim.org/worldaxis2.jpg

[ Again I'm changing direction; from now on, new sections will
be added _at the end of the file,_ in order to prevent reading
down and up, up and down, constantly reversing. So the narrative
will be continuous, _after_ the marker: xxx xxx xxx xxx below. ]

Just woke up, realize "in reverse" the direction to go, here I'm
beginning to top myself - 1:15 in the afternoon still thinking
about Burroughs. Now, later, I've been reconfiguring X Window in
Linux - it can be difficult be- cause there are too many files
that need changing, in too many director- ies. X Window, which
is a graphic interface for Linux, has the feel, like the Mac or
Win98, of a totality - in other words, a coherent and unified
skin over the hardware and software of the computer. But looking
through Linux, it becomes almost immediately apparent that, like
language, the X Window is not so much a _system_ as a
collocation or accumulation of scattered files and processes
that seem almost chaotic. I imagine that a great many computer
applications are like this - for example one doesn't think
ordinarily that Pico or Pine are anything but simple editor or
mail applications - but if you log in at 300 baud and watch the
continuous re- writing of the screen, you realize there are
other things occurring. Even the keyboard itself, say entering
an "e" on-screen - is a system of com- plicated interrupts,
voltages, integrated circuitry, software, etc. Like the human
body, which appears symmetric, whole on the outside, asymmetric
and complex on the inside - all of these are designed to appear
organic, comforting, and surface "blank" ... One wonders if the
body or language themselves might, in other circumstances, be
considered applications as well...

Then this would be the third part of the diary text, working
chronolog- ically in reverse order, opening to the most recent
layering of the world, backing down, re: stratigraphy, the
Pennsylvanian where I come from, fossil sigillaria, neuroptera.
So that _above_ this would be the current, or currency, this
later on August 29th, already a disorderly beginning: should I
start or stop the consequences above or below? The text falls
out differently for the writer or the reader, but all diaries in
cyberspace open for renewal _at the beginning_ - one scrolls
down for the traditional order, one begins _here_ at the origin,
over and over again, repeatedly, within the phenomenology of the
digital.

This is the beginning of the diary text, which I'm using _now_
to configure the directory structure for the residency project.
You might consider this entry an empty one, one designed to
behave as a construct or marker - hold- ing the place open,
creating the header for future work, occupying a site. Addresses
behave like this - a certain amount of diskspace for your
perusal. And it is now August ... probably the 27th, as time
escapes me.

It's August 29, just turned. I worry about the demographics of
the material for the love and war texts - whether people will
contribute whether there will be really enough material to
become self-sustaining. Meanwhile I'm entering test messages on
the backbone websites - I like the tests them- selves and the
possibilities. And I'm currently downloading the webbie.mpg from
the Elite agency - Tookay Webbie, who will go into the Kyoko
Date directory on my desktop - I'm interested in the
relationship between anime, manga, virtual idols such as Kyoko
Date and Webbie, etc. - as well as the otakuworld site, with its
Kamishibai and PlayKiss paraphenalia - things that would be
interesting to explore in relation both to avatars and to the
residency (we could all work with the Kamishibai software for
instance). Today Azure and I also found a number of Burroughs'
books at the Salvation Army - I want to read the Electronic
Revolution text in the Ah Pook is here book, as soon as
possible... Finally, I've been working with electric guitar
again (I want to do some performances with it, a Fender Cyclone,
the model was apparently designed by Kurt Cobain), and I'm
reading cover to cover the Sobell A Practical Guide to Linux,
backing up my knowledge here..

xxx xxx xxx xxx

Diki

Today I went to the Diki site and downloaded several music
videos, around 60 megabytes total. These are the current Kyoko
Date imports into Korea, and the theme is based on the intermix
of virtual and real, the (male) artist (re)creating the female
statue-come-alive; what's interesting is the construct of the
mesh holding the skin - the sexualization of interior hollows as
the armature turns, the skin running jacketed around the body,
cuts carefully made away from breast and genitals as it
approaches. So there is also a literal representation of
introjection/projection in the sense of an injection of skin
covering the hollow of representation, an interior which can be
considered a screen of and 

[NetBehaviour] Newtimey Music

[Alan Sondheim via NetBehaviour]

Newtimey Music

http://www.alansondheim.org/newtimey.mp3
http://www.alansondheim.org/newtimey.jpg

1880s Sterling banjo, think this is unique for various
reasons. Nylon strings, minor tuning. Towards the end
I strained my right wrist. It was worth it, playing at
jagged fingerings, sudden starts and stops. The drone
can drive me crazy as well, but it's truly a beautiful
sounding instruments. This keeps me going.

Ah yes, the gull...

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[NetBehaviour] saddest song, wordless

[Alan Sondheim via NetBehaviour]

saddest song, wordless

https://youtu.be/GfcDU89n1dw video, music
http://www.alansondheim.org/terzguitar.jpg

people are sad now, very sad, they do not sleep
well, nor do they sleep. there is a weight on them
that has no form, no shape, is there, _there._
this is the saddest song i know i can, there are
no words, no voice. it is just this sadness. there
are tears. i will say a word about the guitar as
well, the guitar is sad, the 1917 martin terz, and
it came to me that perhaps this guitar has been
through a war, perhaps the first one, there are
perhaps signs of that. i will never know. but when
i play this, there are rattles and squeaks that
are part of the instrument and part of the music.

now this has so many dedications, so many deaths
now, so many people suffering, now this is perhaps
all of us. but i dedicate this music to family
and friends who are suffering, or out of touch, or
gone now, or ill now, or waking in tears, or on a
wander now, too many to name, too many names, too
many young, too many old. there are too many
extinctions, too much stress, too many wars, too
many threats. i think of this and write of this as
well. i think we all think of these things and i
hope this music expresses this. we wake early now,
we never sleep a sleep. please listen and i want
to thank those who have been supportive of me in
these and other times. for Azure -
- Alan

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Re: [NetBehaviour] First review of Frankenstein Reanimated :-)

[Alan Sondheim via NetBehaviour]

Hi Marc,

I agree with you and apologies for not quoting the full chain below. I'm
not sure I talked about this before, but I'm from Wilkes-Barre
Pennsylvania, a great deal in the news these days (another BBC article on
the place today). It was an anthracite mining center decades ago until the
mines were flooded in 1959 (the energy wasn't particularly clean, but
cleaner than bituminous.) It voted Democratic/union almost a hundred
percent. Now it's turned almost entirely to Trump - there's a book about
the last election - as a result of immigration, fentanyl, and unemployment.
Trumpism is fully entrenched. As fossil fuels deplete or are cancelled,
which indeed they must be, more and more areas supporting coal/gas/oil are
turning the same way. The unions are just about non-existent. Nationally,
attempts at unions by employees at Starbucks, Amazon, etc., are met with
furious resistance. With Trump's court-packing, these trends will continue,
as will the war against women and immigrants; as you may know the latter
are "shuttled" from Texas and other states to the North-East by governors
intent on revenge. Earlier this would have been considered human
trafficking; now it seems acceptable. There are so many similar fronts in
this country that people are exhausted.

I do agree with you when you say "I don't believe no artist or artwork
'themselves' will change it. I think it's about living the troubles and
surviving - dealt to us all by the soulless elites. We all know it will not
stop and it's like a runaway train smashing into a brick wall. Yet, out of
the collapse it's necessary to maintain allegiances, keep connected
somehow, build resilience, because it's gonna get worse than it is now. And
we all need each other, to support each other, through this deeply dark
period of our lives." - I just don't see how this period will come to an
end, given that all the statistical markers are increasing exponentially.
Part of my pessimism admittedly might come from our own
financial/social/geographic/familial situation here; we're not personally
on the "sunny side" of tech for example - we'll never be able to afford it.

Has LARP and similar been helpful, extending into universities and other
institutions? I remember debating societies when I was a kid where a
participant would be given a position to defend... but this would have to
be on a large-scale perhaps to have any chance of success?

I keep thinking of Putin and his supporters now and then, and how human
society is organized so much around these singularities of power that seem
almost intractable for decades, to the extent that they can cause
inconceivable damage...

Best, Alan


On Mon, Sep 26, 2022 at 6:08 AM marc.garrett via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Alan,
>
> I agree as you say "Frankenstein has already won".
>
> >The worldwide pain through violence (not just Ukraine), famine,
> >sickness, (un)natural catastrophe is enormous. And to be honest,
> >no artist or artwork, I truly believe, is going to change this.
>
> Again, I agree with what you say. I would not think you're being a
> Luddite, although I wouldn't mind being called a Luddite because they
> bashed technology against oppression, not because they were against
> technology itself, it was to save the future of their own self-run
> businesses, communities and families.
>
> >And to be honest, no artist or artwork, I truly believe, is going
> >to change this. I think LARP might help a great deal if somehow
> >diplomats were engaged.
>
> I don't believe no artist or artwork 'themselves' will change it. I think
> it's about living the the troubles and surviving - dealt to us all by the
> soulless elites. We all know it will not stop and it's like a runaway train
> smashing into a brick wall. Yet, out of the collapse it's necessary to
> maintain allegiances, keep connected somehow, build resilience, because
> it's gonna get worse than it is now. And we all need each other, to support
> each other, through this deeply dark period of our lives.
>
> >That said, the book is great, it points to all of this, telling
> >the truth and telling it slant (Dickenson, yes?), and more like
> >it might well move things along, a little, in the right (left)
> >direction.
>
> I've been getting some amazing feedback about the book from all kinds of
> people. What's especially reassuring, is that some of them are not directly
> involved in art and media art culture - which really cheers me up.
>
> "The struggle with trying to exist within massive systems and structures
> designed by elite patriarchs is a never-ending journey. However, it’s also
> a journey of self-discovery that brings rewards such as meeting great
> people and inspiring friendships. It is a web of confusing and complex
> experiences and emerging pieces of knowledge that always requires constant
> attention."
>
> Wishing you well
>
> Marc
>
> =>
>
> DR Marc Garrett - https://marcgarrett.org/
> Furtherfield - 

Re: [NetBehaviour] last post for a while - on Facebook/Metaverse

[Alan Sondheim via NetBehaviour]

It's amazing how data collection works. Here on Gmail, there are "delays"
when I log in - you know data's being collected. On Facebook, very few
comments appear on a post; you have to keep clicking. Now when I'm on
suddenly the posts scroll "speed up" and I have to return to the beginning
repeatedly. There are places that ask for more comments or other comments
or would you like to see more like these or do you like these and on and on
and on. The thing asking the questions, i.e. for example "Do you like this"
is a form of Gestapo. Scary as hell. Big Brother (gender noted) is not only
watching you; he's devouring your soul.

Best, Alan, thanks -

On Sun, Sep 25, 2022 at 8:28 PM Simon Mclennan via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> I deleted fb over a year ago and never looked back.  I do however post art
> and music on inst - but feel I may delete that little monstrosity also ha
> ha.  Troubling this stuff. I’m with you Alan on this I think. My small town
> allows for enough face to face interaction and conversation in cafes or
> otherwise on a daily basis.  I certainly don’t need the algorithm riddled
> internet to enjoy other humans or much else for that matter.  But then
> that’s just me.  Others will feel differently and experience the opposite.
> Leave it all behind I advise however. To clear the nostrils of the stink
> of greedy big data :)
> S
>
> Sent from my spyphone
>
> On 25 Sep 2022, at 23:18, Alan Sondheim via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
> Hi and thank you and agree with you to an extent. The problem is one of
> age; I use Fb "intelligently" I think, but for many, all of these social
> programs take away from real life, not add as an adjunct to it.
> Increasingly people are living to an extent on all of them; that's clear
> for example from Quanon and the effect Twitter. I think you would find that
> older people who already have had their social landscape somewhat evolved
> would behave differently in relation to these programs than those who have
> grown up with them. I remember as far back as 1996 or so, I was in Fukuoka,
> and watched a friend teach an English/Japanese class, and most of the
> students were on early cellphones even then. On the other side of things,
> cybercriminals are wreaking havoc on institutions at this point; even
> drones are under attack. Finally, the issue is coming from above - "Meta"
> is fundamentally different from "Facebook" - and the changes are
> troublesome, reflected as well in magazines like Wired. It's what I wrote
> about re: "testimony" and "textamony" - thinking of the former as, for
> example, the memoirs of holocaust survivors and the latter, generating
> false memoirs, false testimonials, etc. We're already seeing the spread of
> false news -
> Best, Alan, and thank you again -
>
> On Sun, Sep 25, 2022 at 9:05 AM Edward Picot 
> wrote:
>
>> Alan,
>>
>> Yes, I agree - but on the other hand I also think that a lot of people
>> use social media in a much more grounded way. On Instagram I'm in touch
>> with a lot of small-scale makers who live in the same area as me. They
>> post notifications to each other about new work that they've made
>> available on Etsy, or when they're going to be running a stall at an
>> arts and crafts fair somewhere. It's just a part of how they carry on
>> their business and get the word out there about what they're doingThen
>> there's Maria, who works at the surgery where I work, and she's got
>> three kids at different schools in the area. She has to drive several
>> miles to work down country lanes every morning: if there's been an
>> accident on one of the country lanes which is blocking the traffic,
>> somebody will have posted a note about it on the local Facebook page or
>> on one of her WhatsApp groups before she sets out, and she drives round
>> a different way. If the bus doesn't come to pick up one of her kids and
>> take them to school, she'll know all about that in advance in the same
>> way. So, I do worry about social media and its impact on our lives and
>> our view of reality, but I also think a lot of people just incorporate
>> it and repurpose it as part of their everyday lives, in a way which
>> perhaps does help to prevent it from divorcing them from reality and
>> dragging them into the metaverse.
>>
>> Is the real problem that people are being fed false narratives about
>> what's going on in the world by social media, advertising, media in
>> general, and those narratives are preventing them from engaging with
>> issues of deprivation, social injustice, climate c

Re: [NetBehaviour] last post for a while - on Facebook/Metaverse

[Alan Sondheim via NetBehaviour]

Hi and thank you and agree with you to an extent. The problem is one of
age; I use Fb "intelligently" I think, but for many, all of these social
programs take away from real life, not add as an adjunct to it.
Increasingly people are living to an extent on all of them; that's clear
for example from Quanon and the effect Twitter. I think you would find that
older people who already have had their social landscape somewhat evolved
would behave differently in relation to these programs than those who have
grown up with them. I remember as far back as 1996 or so, I was in Fukuoka,
and watched a friend teach an English/Japanese class, and most of the
students were on early cellphones even then. On the other side of things,
cybercriminals are wreaking havoc on institutions at this point; even
drones are under attack. Finally, the issue is coming from above - "Meta"
is fundamentally different from "Facebook" - and the changes are
troublesome, reflected as well in magazines like Wired. It's what I wrote
about re: "testimony" and "textamony" - thinking of the former as, for
example, the memoirs of holocaust survivors and the latter, generating
false memoirs, false testimonials, etc. We're already seeing the spread of
false news -
Best, Alan, and thank you again -

On Sun, Sep 25, 2022 at 9:05 AM Edward Picot  wrote:

> Alan,
>
> Yes, I agree - but on the other hand I also think that a lot of people
> use social media in a much more grounded way. On Instagram I'm in touch
> with a lot of small-scale makers who live in the same area as me. They
> post notifications to each other about new work that they've made
> available on Etsy, or when they're going to be running a stall at an
> arts and crafts fair somewhere. It's just a part of how they carry on
> their business and get the word out there about what they're doingThen
> there's Maria, who works at the surgery where I work, and she's got
> three kids at different schools in the area. She has to drive several
> miles to work down country lanes every morning: if there's been an
> accident on one of the country lanes which is blocking the traffic,
> somebody will have posted a note about it on the local Facebook page or
> on one of her WhatsApp groups before she sets out, and she drives round
> a different way. If the bus doesn't come to pick up one of her kids and
> take them to school, she'll know all about that in advance in the same
> way. So, I do worry about social media and its impact on our lives and
> our view of reality, but I also think a lot of people just incorporate
> it and repurpose it as part of their everyday lives, in a way which
> perhaps does help to prevent it from divorcing them from reality and
> dragging them into the metaverse.
>
> Is the real problem that people are being fed false narratives about
> what's going on in the world by social media, advertising, media in
> general, and those narratives are preventing them from engaging with
> issues of deprivation, social injustice, climate change etc. - or is it
> that people are simply mostly too busy with their own individual
> struggles to lift up their eyes and see what's going on around them on a
> larger scale - or is it that they can see the problems, but they're
> powerless to do anything about them? Maybe all of those in combination.
>
> Edward
>
>
> On 9/24/22 4:26 PM, Alan Sondheim via NetBehaviour wrote:
>
> >
> >
> > */Taking a break from posting on Netbehaviour, I miss other
> > voices. But I did want to send this out, from a few days ago,
> > thinking about the fast-forward transformations of social
> > media. And apologies for previous posting too much. - Alan/*
> >
> > ___
> >
> >
> > As if I were speaking extemporaneous at a conference, not
> > knowing anything about anything, but thinking important things.
> >
> > http://www.alansondheim.org/speaking.jpg
> >
> > Surfaces: Metaverse / Facebook / Youtube / TikTok / Twitter
> > I'd like to begin by considering the change of Facebook to Meta
> > with the implication of metaverse . Facebook originally got its
> > title from the fact that it was a Facebook that it was almost
> > like a yearbook for students . The face of a student would be
> > reproduced and there would be commentary and there would be
> > interconnections between that student and another student and a
> > scan of students and a community and a scan of community . Face
> > and book are both material objects . They exist in the real
> > world they are subject to decay and destruction. They come
> > together with the idea that one is an open book . The face is
> > there to be red and the book is there to be carried about as an
> 

[NetBehaviour] last post for a while - on Facebook/Metaverse

[Alan Sondheim via NetBehaviour]

*/Taking a break from posting on Netbehaviour, I miss other
voices. But I did want to send this out, from a few days ago,
thinking about the fast-forward transformations of social
media. And apologies for previous posting too much. - Alan/*

___


As if I were speaking extemporaneous at a conference, not
knowing anything about anything, but thinking important things.

http://www.alansondheim.org/speaking.jpg

Surfaces: Metaverse / Facebook / Youtube / TikTok / Twitter
I'd like to begin by considering the change of Facebook to Meta
with the implication of metaverse . Facebook originally got its
title from the fact that it was a Facebook that it was almost
like a yearbook for students . The face of a student would be
reproduced and there would be commentary and there would be
interconnections between that student and another student and a
scan of students and a community and a scan of community . Face
and book are both material objects . They exist in the real
world they are subject to decay and destruction. They come
together with the idea that one is an open book . The face is
there to be red and the book is there to be carried about as an
object as a friend. They interact . This is important because it
ties the virtual to the real in a very materialized way. By the
time you reach meta or metaverse , you're in a different world .
You're in the world which is sutured from the outside world a
world which is made of pixels or other uniform grids . The
implication is that you can live in a metaverse. Metaphors of
metaverse is defined as a totality which is external to the grit
and dirt of the real world. You know where this is going already
. The division between to clean and proper body which is the
body of fascism the body of totality and totalization and the
body of dirt the body of gristle and bone is enormous. United
States life span it's going down . Arable land is going down .
Climate change is far more brutal than it was ever expected to
be . Larger cities are getting tent cities within them some
cities underground cities cities on the margins even within the
city of people who are homeless people who are sick people who
have access to little education people who are absented from
education in other words . Every spaceship launched into outer
space carrying millionaires or billionaires is already producing
an encapsulated world and we all know this, a world which is
sterile in relationship to the grid below. We are talking about
escaping to Mars because we want to live the violence and pain
behind. We will bring the violence and pain with us. This is one
of the oldest tropes in science fiction. The flesh can't escape
the flesh . But Facebook is moving away from the real face and
the real book just as YouTube is no longer about you but more
about the tube . And you know where this is going I notice that
the talk about the network society is increasingly headed
towards abstraction and using almost the same language the
neoliberalism or corporations do I know this that corporations
are now attacking the individual bodies of their employees at
the lower levels by posting ads In which the enemy is the union.
You know where this is going. This is a very real crisis because
on one hand for example we worry and become upset about the work
with the war in Ukraine but on the other we get excited about
the possibilities of living in the Meadow in the metaverse . We
use blockchain instead of filthy money. We talk about inter-
continent interconnectivity and the opening of the world and all
the data in the world to all of us. But that isn't true and that
has never been true. The number of people the amount of people
we have left behind is almost inconceivable. The amount of drugs
in the United States and elsewhere, in particular fentanyl in
the opiates is inconceivable. What it's doing to whole
populations of people who have no way otherwise of being in the
world and are vulnerable to these things is inconceivable.
Starvation and bad health care are inconceivable but they're
found in every country in the world at this point. People are
turning towards what might be called magical thinking, not
because they're ignorant, but because they've been marginalized
all along . Magical thinking connects the grit with the network,
the face/book with the meta/verse. It revolutionizes that . It
gives power to that. It's a lottery. The metaverse on the other
hand is junk . It solves nothing . Yes , it can be used in
robotics for the handling of medical and dangerous materials.
Yes, all those things . But those things depend on connectivity
with the "idiotic real" to use a phrase . The idiotic real is
the world we live in where magical thinking falls flat unless
it's carried by the barrel of a gun or cyberwarfare . They can
do anything. The wealthy build their islands , own their islands
and their compounds , associate with the wealthy . We all know
all of this. This is the worst thing about what I'm writing ,
that we all 

[NetBehaviour] Sprites - keep the volume down

[Alan Sondheim via NetBehaviour]

Sprites - keep the volume down

http://www.alansondheim.org/sprite.jpg
http://www.alansondheim.org/sprite.mp4

Hello why are you not working are you working. Dictating yeah
I'm recording right now this is solo tabla . And it's an in
combination with super Collider . But the Super Collider is
colliding literally with the audio electronics in my computer
and the result is available a veritable veritable veritable mass
trying to get everything to come out properly . So that what
you're hearing is a combination of tablet playing and super
Collider and the Super Collider is much higher pitched you might
wanna keep the high pitch down a little bit . At times yeah you
can't even tell what's going on . It's fantastic if you look at
if you look at the spectrum the audio spectrum it's amazing
hearing all over the place.! Anyway it's experimental the tablet
playing Is really good it's just on the tabla drum itself it's
not on the other drums not on the left hand drum . I don't know
the left hand drawn this is also tuned very low the table is
tuned very low it has a beautiful sound so you'll have to listen
and see what you think . I have to tell you it was hell to try
to get this file together so that you can listen to anything at
all! I do like the result hope you do too and so forth . Enjoy!

OK here's the gist of the thing. There are too many control
surfaces going on simultaneously. I don't know the interior of
super Collider. The person who worked with me in the past is no
longer here. I'm on my own. So I can't get in and reconfigure
the audio of this computer in relationship to these files and in
relationship then to the playing back of the tablet because I
recorded the tablet first and then put it through this melange
of programs. So it's a little bit confusing but it was
interesting to work with that confusion . Scores on relationship
to what I was saying a couple weeks ago a few weeks ago in
relationship to the idea of adjacency. Because these are
programs that don't easily combine. They're adjacent to each
other they're reconfiguring each other is there a contradicting
each other and you hear the result. But the result to me is
really fascinating because it's very industrial not like
industrial music but literally like industry. Any industry for
me is a combination of wood and leather on one hand and then
post digital programming on the other I say post digital because
programming Because the programming should be simple on the
surface but I'm not working with windows I'm working with
control and it makes the whole thing are overly complicated for
me. Which is if it's artificial intelligence gone wrong while
operating on literally wooden instruments fingers moving and and
and and one way or another of trying to configure the totality
of the sound. Which doesn't work that makes for me something
interesting . Again thank you, enjoy!

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[NetBehaviour] apologies apologies, sent an earlier version without the url -

[Alan Sondheim via NetBehaviour]

after so long, approaching the qin

https://youtu.be/z-39ZJcSWqU video
http://www.alansondheim.org/approachingtheqin2.jpg

i haven't played the guqin (qin) in a long time, almost a
year, due to the usual circumstances we have all gone through.
i was surprised to find it perfectly in tune; it's remained on
the table throughout. i want to demonstrate the first
tentative steps towards playing it again. this isn't music per
se, but an approach to such. Azure did the video and the sound
is from the camera, not my usual way of recording (which is to
place a Zoom H4n beneath the instrument near one of the sound
holes). please bear with me; i think this is of interest, not
in terms of music, but in carefully listening one again to the
qin's complexity and beginning to work with it. Stephen Dydo
and i recorded a cd for ESP-Disk (when they still cared) with
the qin among other instruments; he's a brilliant player. i've
used this one elsewhere as well, even in new media situations.
and now it's coming back to me, an old friend.

please note: please don't think of this as music; it's not;
it's the beginning of approaching the qin after so long. there
are other videos i've put up that are far better musically.

__

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[NetBehaviour] after so long, approaching the qin

[Alan Sondheim via NetBehaviour]

after so long, approaching the qin


http://www.alansondheim.org/approachingtheqin2.jpg

i haven't played the guqin (qin) in a long time, almost a
year, due to the usual circumstances we have all gone through.
i was surprised to find it perfectly in tune; it's remained on
the table throughout. i want to demonstrate the first
tentative steps towards playing it again. this isn't music per
se, but an approach to such. Azure did the video and the sound
is from the camera, not my usual way of recording (which is to
place a Zoom H4n beneath the instrument near one of the sound
holes). please bear with me; i think this is of interest, not
in terms of music, but in carefully listening one again to the
qin's complexity and beginning to work with it. Stephen Dydo
and i recorded a cd for ESP-Disk (when they still cared) with
the qin among other instruments; he's a brilliant player. i've
used this one elsewhere as well, even in new media situations.
and now it's coming back to me, an old friend.


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[NetBehaviour] Unmanifesting

[Alan Sondheim via NetBehaviour]

Unmanifesting

http://www.alansondheim.org/ima.mp3
http://www.alansondheim.org/unmanifest.jpg

In ten years I will be close to 90, which is inconceivable,
being 79 is difficult as well. Which makes it difficult to make
any long-range planning in terms of studying, publication, being
in the world - I want to deal with adjacency, neither this nor
that, textimony, testimony, body interiority in relation to
computation and artificial intelligence at a distance, the
shifting landscape of philosophical ontology, mathesis and what
there is, avatar and human behavior and embodiment, the
structure of virtual worlds, and - and these fields among so
many others are changing so rapidly that whatever I write or
think is always already outdated - that thinking itself and
thinking-through might be outdated as well - that I no longer
have the time for long thought - that the presumed future
deterioration of my mind will prohibit this sort of speculation
- that I will be more concerned with that, with the symptomology
of that - than with anything else in terms of a philosophy
somehow not violated by that symptomology - and so forth, always
within a time, unknown temporal interval, that is decidedly
shrinking to the point of uselessness or an untoward simplicity
- that I will no longer be able to think _thus,_ that therefore
the world and its complexity will begin and continue to recede,
not towards some sort of mystical unity or truth, but towards
irretrievable decay, loss, sorrow at the loss (which may be at
best a distant memory (if that)), that the tail end will be
death and the grounding of any implication of such, for which I
will not be witness, will not bear witness, will always already
(again that metaphor) be beyond me, and how, now, do I deal with
this, this mourning, this unexpected but expected sorrow, which
occupies my thought, bringing me often to tears in the early
morning, this retro-future sense of mourning in fact, the future
in reverse, there is a word for that, already forgotten, but in
other word this forgetting, this forging of emptiness, so that
for example such things as the unity of the universe if such,
the suturing and development of particle physics, the knowledge
of life on other worlds and contact with that life, the
potential healing and extending of viable life-spans, all this
unknown and continuing unknown, the building blocks of a
universe whose pathology may extending indefinitely and
humanity's realization of that, the politics and sociologies of
dwindling resources - wars, famines, desertification, floods and
unforeseen enormous monsoons and fires - all this I will not
bear witness to, nor to the last human dying on earth - under
what circumstance - and my decade at best, and probably much
shorter time than that, as I watch myself, with my limited
senses and more limited body (itself), mindfulness dissolving
(again into tears, even now) - my decade at best, a withdrawal
(already friends abandoning me, almost no contact with anyone in
my family now, most are hardy and fine, the passing from one
generation to another) - do I mourn now, continue on a journey
increasingly misshapen - to I give into despair, suicide,
walking away from a body turning into a conglomeration of
failures - I will never ever desert Azure, my partner in so many
unforeseen ways, my best friend - that amazing sphere or
lifeworld of intimacy - but then, outside of that, increasing,
the maelstrom... ...these are the truths of my life, breaking it
apart even now, sintering on the edges, geodermatological
phenomena unforeseen, one can only imagine, how should I, how
should one, go on, continue within and without the theater of
failure, the shimmer of curtains and auroras, the call of
nothing, call of absolutely nothing, call of the absolute -
which must be fought against, with every breath I have, with
every turn of the sun into darkness and descent, with whatever
powers I have left, with being and remaining within this world
of miracles and still, yes still, inconceivable thought - and
this, these, are among that, dedicated to that, as if, out of
the corner of my eye, I could see myself years ago so clearly,
walking, I will not say where, and seeing even then, what was
yet to come, what was yet to come...

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[NetBehaviour] outhere

[Alan Sondheim via NetBehaviour]

outhere

https://youtu.be/g8YZalPdgE8 video
http://www.alansondheim.org/outhere.jpg

speaking like an insect in the night of insects , what the
machine said to the speaking -   My hand speaking soSo there's
this road and there soSo there's another world so how are youSo
high into the ultrasonic soSo high soSo high into the blockSo
high justJust so high thisJust so high Yep so howso high into
the ultrasonic iI bring this world i bringI bring this world to
you freeThis world freeFree. i bring thisI bring this world to
you it'sIt's it's not what you think it's as if i'mIt's as if
I'm driving along what'sWith this other world period. So I bring
the coupe so bringSo I bring this out to you I'll lower the
sound ofLower the sound I bring it to you I'll lower . soSo you
can be in this other worldWorld periods who can be in this
worldWorld where the other sound is . do youDo you get the
meaning where the where theWhere the meeting is. confabulations
ofConfabulations of cultures . all around usAll around us they
surround us. ordinaryOrdinary sounds of ordinary life .
everythingEverything adjacent and every andAnd everything
intermingled . the app goesThe app goes off before the jack
goesThe app goes off the app goes off before theOff before the
app is done. this is whatThis is what is intermingled andAnd
this isn't andAnd this is intermingled . so there'sSo there's
this road and everySo there's this we'reWe're driving along
workanotherAnother world how noAnother world how are you . so i
loweredSo I lowered the sound did I say iSay I lowered the
sound. didDid I say that. we are guestsWe are guests in this
world . did itDid I say I lowered the . flowerLower the sound.
this isThis is literally what I'm saying nowNow. This is what
I'm sang loweringSaying lowering the sound so you can hear it .
did i sayDid I say that question note? reallyDid I did i readDid
I really say that itDid I really . thisThis is the road we don't
belong . weWe don't belong there . this isThis is the road of
the other this isThis is the road of the others . soSo there's
this road . so there'sSo there's this road into the old into the
ultraInto the ultrasonics . listen toListen to it listen to you
listen to it the road this roadThe road this road free free free
free freeFree free free free free .

free freeFree free free free free . -   what the machine said to
the speaking - adjaceny of worlds - interpenetrations -
collusions - happenstance - enormous anonymities - lost in time
and space - surrounding - inconceivable - outhere - chassies -
speaking like an insect in a day of insects - the there -
the there -


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[NetBehaviour] Talking Balking Out Badly

[Alan Sondheim via NetBehaviour]

Talking Balking Out Badly

http://www.alansondheim.org/thennight.jpg

I was thinking of where my own work came from and who influenced
me and how that influence worked . And one of the things I
thought about was the work of Vito acconci who I've written on
before. It was his voice and the resonance in his voice which
was normal and intense and deep and straightforward then anyway
created his work particularly his earlier work. Who is the voice
connected to the body and I wrote about it in terms of second
person art because he always used the pronoun quote you UN quote
you. In other words the pieces were directed to the spectator
who is no longer a spectator not even complicit but instead was
part and parcel of the work and his or her body was part and
parcel of to work and I thought this was amazing. It used almost
no technology dash the earlier work dash almost none at all . It
wasn't theater it was direct. (At one point I knew Vito and
Laurie (see below) well.)

At the same time I was influenced by Laurie Anderson. This was
very different. Laurie used very simple technology lights and
mirrors for very simple tricks that were immediately understood
. For example she ran a projector facing the ceiling that was on
her stomach and as she moved and breathed lying down the image
moved I remember all of these early works so strongly. The
audience would move out of a Vito Acconci performance as if
there were nothing more to be said in the world. After one of
Laurie Anderson's performances however the audience would stand
up and clap and it would create a bond it kind of social network
occasions by Laurie's performance in her loft .

I couldn't do either of these. I was far too neurotic far too
skittering from subject to subject far too unsure of myself.
When I was surrounded by other artists I went silent or became
awkward. I've been awkward like that most of my life. At one
point as I mentioned Vito called me up on the phone I said I
realize one thing Alan that you're not a real artist either the
same day or the day after Laurie Anderson called me up and said
I realized something Alan you're a real artist . I didn't belong
anywhere except in and out of a hall of mirrors . I used every
bit of technology I could to establish myself to make myself
grounded in one thing or another. I remember all the time my
father screaming at me and I always felt destitute of a family
that my brother and sister were distant and far from me and in
fact they still are. My mother was somewhat supportive but
didn't understand anything I was doing and a great deal of the
time wasn't even around. She was political and was working in
Israel and in other countries around the world in relationship
to Jewish issues. My parents sent me money from time to time to
keep me going; this was my mother's idea.

My own past, the path that I found was one of wandering . I
would read a little bit of a book and think that I understood it
well move on to another book I think I understood that I had
some devastating social and emotional relationships with people
I was no good with people I am now estranged from my family for
the most part. I am out on my own along with Azure and I am
working somehow to suture to bring together what I've done in
the past . There's a huge amount of it and it goes in and out of
archives . I keep thinking of my archives and in some of the
collectivities I tried to do. I early on published the work of
Vito and Laurie and Adrian piper and any number of other artists
in a variety of magazines. In a variety of catalogs. I did one
of the earlier collections called Being Online which was about
people who are living one way or another online as part of their
daily lives . This was about how the Internet was With bodies .
There were more entanglements and nothing was as clear as it
seemed between the real and the virtual. I go over and over all
of this in my mind . I do this every night and every day with a
sense of dread and sorrow awkwardness and guilt. I don't think I
ever learned how to behave. I do think I learned how to
manipulate equipment and to grasp concepts quickly . I began to
feel more and more that the concepts and philosophy particularly
ones dealing with ontology were faulty and just interfered in
the appetition of the world. I began to look for diffusions . I
began to look for scatterings for partial objects for things
that were only adjacent near one another unconnected except for
that nearness. I wrote about the difference between fissures and
inscriptions. I still think that way . I think only mathematics
can supply articulations and connections that matter, and I
think mathematics only deeply connects perhaps on the quantum
computing and annealing level, that the rest are structures
within the same coherent ontology.

O this is all wrong.

When I go back to the clarity of Vito acconci's early work I am
astonished. It makes no claims but it makes And demarcates
fields of behavior. It's something about that 

[NetBehaviour] OM

[Alan Sondheim via NetBehaviour]

OM

https://youtu.be/AmcWlYpEeHM VIDEO
http://www.alansondheim.org/OM.jpg

Here we go: Oud and Madal played simultaneously in one
segment, one after the other in the next. Images from
Providence late evening, shooting for the most part in
the dark, but enough light for the camera to work well.
Herons, cormorants, various fish including menhaden,
19th-century ruins of a mid-estuary coal depot. Madal
is Nepalese; Oud 11-string. Playing simultaneously is
easy with two independent recordings; each played
without listening to the other but relying somewhat on
memory. One after the other is tricky of course; the
two instruments are adjacent. Both speak of kinds of
isolation. Both produce a form of musical shuddering.
And finally, both speak of the need for a kind of
body dexterity to shift focus, to remember, and in a
sense, to remember nothing, to be, as in sports, what
is called "in the moment" - as if we can ever escape
that. The photographs on the other hand are made in
the moment of the other, I stand back, the camera
does its own work and for the most part, I could only
see properly through the viewfinder. I married the
two streams. The birds were silent. They were aware
of each other, peacefully intermingling. That night
was still, something of the uncanny, now, in adjacent
phenomena.

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[NetBehaviour] (no subject)

[Alan Sondheim via NetBehaviour]

DEATH OF META [text below)

https://www.youtube.com/watch?v=tpUZ5vf4Hb4=21s Video
http://www.alansondheim.org/Yahrzeitformyfather.mp4

Because: AI / META-verse are displacements
Because they replace adjacency with configured structure
Because they cost
Because they replace bodies with data and simulacra
Because of the usual: disease, atmospheric collapse, war
Because of the usual: starvation, racism, sexisms, genocides
Because all bodies are suspect re: cyberwarfare and intrusions
Because bodies are _there_
Because bodies _are_

Structure:

2022-09-09 [14:48:51] Logged in as Julu Twine.
2022-09-09 [14:48:51] Login reply: Autumn has arrived in
Second Life! Grab a jacket and explore these photogenic
destinations where theleaves are changing, the rain is
flooding the region, and the smell of pumpkin spice lingers in
the air.
2022-09-09 [14:48:54] Inventory update completed.
2022-09-09 [14:49:09] Julu Twine: Julu twine do you hear me
2022-09-09 [14:50:30] Julu Twine: Do you hear me
2022-09-09 [14:50:40] Julu Twine: Nothing you say
2022-09-09 [14:50:55] Logged in as Julu Twine.
2022-09-09 [14:50:55] Login reply: Autumn has arrived in
Second Life! Grab a jacket and explore these photogenic
destinations where theleaves are changing, the rain is
flooding the region, and the smell of pumpkin spice lingers in
the air.
2022-09-09 [14:50:58] Inventory update completed.
2022-09-09 [14:51:02] Julu Twine: Do you hear me
2022-09-09 [14:51:21] Julu Twine: Do you hear me
2022-09-09 [14:51:31] Julu Twine: Say something Julu
2022-09-09 [14:56:03] Disconnected: The system has logged you
out because you are attempting to log in from another
location.
2022-09-09 [14:56:04] Logged in as Julu Twine.
2022-09-09 [14:56:04] Login reply: Autumn has arrived in
Second Life! Grab a jacket and explore these photogenic
destinations where theleaves are changing, the rain is
flooding the region, and the smell of pumpkin spice lingers in
the air.
2022-09-09 [14:56:05] Inventory update completed.

--

If you've read this far...

Useful URLS in case you're interested -
(many works for free)

https://www.youtube.com/user/asondheim/videos videowork
https://alansondheim.bandcamp.com/ music
https://soundcloud.com/search?q=Alan%20Sondheim music
https://en.wikipedia.org/wiki/AlanSondheim - needs updating
books available on Abe, Amazon
http://www.alansondheim.org/ text and media index
https://punctumbooks.com/titles/broken-theory/
free download

DEATH OF META:

https://www.youtube.com/watch?v=tpUZ5vf4Hb4=21s Video

http://www.alansondheim.org/Yahrzeitformyfather.jpg

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[NetBehaviour] DEATH OF META

[Alan Sondheim via NetBehaviour]

DEATH OF META

https://youtu.be/tpUZ5vf4Hb4 video
http://www.alansondheim.org/DeathofMeta.jpg

META: GENERAL PROSPECTUS, Alan Sondheim, for the Meta META:
META: Corporation I began in 1972, dealing with art as
META: research.

I watch and enter LocalSim through Imprudence recording with
Snagit, editing in Premiere and Audition. I am in an
antiquated world promising everything from the past into the
future. I am inviolate, inordinately fragile, moving around
the broken plateau and broken objects I created. Don't worry
about the blurred text, what's important is the seething, the
clicks, the voice losing grips with it all. All Meta META
dies; all Meta META promises new beginnings which collapse in
their hubris and misplaced audacity. On the street people are
dying. Across borders people are dying. Too many people dying
of starvation, of war, of violence, of racist hatred. There is
no Meta no META, comprehension only of incomprehension. This
video is a meditation on such, a meditation on breaking, on
the broken, whose premise is that the way out of Meta META is
the only way out of here, in the grit of the world, in the
teeth and maw of every one of us. I make this video, The Death
of META, for you, my Meta corporation long since defunct and
perhaps not even properly registered in the State of Rhode
Island in 1971-1972. Whatever you do, do better than I did,
do it was grace and recognition of the darkness that surrounds
us.

...

the Meta Corporation work I did; it never went through. folded
'poster' of taped announcements etc., Alan Sondheim, music and
Meta (sitting on top of folders) AS, The Analysis of
Situation, Providence, RI: Meta Press, 1972 Head, Meta
Corporation for Art Research, 1971-2 Amelia

META: GENERAL PROSPECTUS, Alan Sondheim, for the Meta proposal
stemmed out of the Meta Corporation work I did; it music and
Meta (sitting on top of folders) Hierarchical Structuring.
Meta Limited, 1972. call it Meta yet; that was the name of a
small registered art


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Re: [NetBehaviour] Two drawings

[Alan Sondheim via NetBehaviour]

Really like these and the presentation and the exactitude of your 
drawings, deliberations -


On Fri, 9 Sep 2022, Simon Mclennan via NetBehaviour wrote:


Date: Fri, 9 Sep 2022 23:47:43 +0100
From: Simon Mclennan via NetBehaviour 
To: netbehaviour@lists.netbehaviour.org
Cc: Simon Mclennan 
Subject: [NetBehaviour] Two drawings

https://www.instagram.com/reel/CiTTjtDsfHB/?igshid=YmMyMTA2M2Y=
And with text 

https://www.instagram.com/p/CiQuwPetp1X/?igshid=YmMyMTA2M2Y=

Ta ta
S



Sent from my spyphone 

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[NetBehaviour] adjacent

[Alan Sondheim via NetBehaviour]

adjacent


http://www.alansondheim.org/someplace12.jpg
http://www.alansondheim.org/someplace1.jpg

it had to be moved. it had to be enclosed.
once it enclosed. now it is exposed.
now the other had to be enclosed.
the other had to be enclosed once it was exposed.
we noticed these things, deliberate and adjacent.
we say neither one nor the other.
smart aesthetics we say, the space in-between.
older fossils at a third of a billion years.
a third of a billion seconds is ten and a half years.
light ignores our illuminations.
increasingly i write for myself alone.
my family becoming a distant past. our home a precipice.
the absurdity of a performative in a third of a billion.
maintenance in third of a billion.
i write 'Broken Theory.' all theory is broken.
god never appeared during the carboniferous.
life is a memory of life adjacent to inconceivable absence.
we say neither one or the other.
ten years from now, gone and forgotten.
eternity has neither time nor space for us. eternity.
you have heard this all before. soon no longer.
i do not understand how the mind remembers voices.
when i die the voices of everyone i know.
Sarah Bernhardt was a surprise. a minute. a second.
my pretty fossils, have i despoiled them.
this is not a poem. this is not a poem is not a poem.
annihilation to the limit and utterance is lost.
noise. a butterfly's flight changes nothing.
upwelling because there is no room for adjacency.
the edge of a cliff has an edge. failure to all.

adjacency continuity contiguity neighborhood
compression fissure inscription
(not this, not that)

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[NetBehaviour] VR discussion dynamics : adjacency

[Alan Sondheim via NetBehaviour]

VR discussion dynamics : adjacency

https://youtu.be/dXxkCvNMe-A VIDEO
http://www.alansondheim.org/adjadj.jpg

[16:24:57] Logged in as Julu Twine.
[16:41:29] Inventory update completed.
[16:41:39] Julu Twine: Hello then
[16:42:05] Alan Dojoji: Hello there
[16:45:55] Alan Dojoji: testing adjancy one two three
[16:46:12] Alan Dojoji: testing one two three
[16:46:30] Julu Twine: testing one two three. RESPOND!
[16:46:48] Alan Dojoji: testing one two three: where are you
[16:47:09] Julu Twine: RESPOND!
[16:47:43] Alan Dojoji: testing: adjacency
[16:47:57] Julu Twine: respond!
[16:48:17] Alan Dojoji: testing one two three: are you there?
[16:48:44] Alan Dojoji: hello. this is broken, yes?
[16:49:11] Julu Twine: this is broken yes.
[16:49:50] Alan Dojoji: is this broken, yes?
[16:49:57] Julu Twine: Yes I think this is broken, but I'm not
completely sure.
[16:50:09] Alan Dojoji: I think this may be repaired.
[16:50:14] Julu Twine: Why?  What does "this" refer to?
[16:50:16] Alan Dojoji: That damned sound
[16:50:21] Julu Twine: "Why?  What does "this" refer to?"
damned sound ?   Makes sense to me.
[16:50:31] Alan Dojoji: Response, your response
[16:50:37] Julu Twine: Do you want to hear a joke?
[16:50:44] Alan Dojoji: Are you next to me?
[16:50:46] Alan Dojoji: No
[16:50:49] Julu Twine: I don't know whether or not I am next to
him or her.
I am  a Computer.
[16:50:52] Julu Twine: Are you sure?
[16:51:01] Alan Dojoji: I am sure you are next to me.
[16:51:06] Julu Twine: What makes you so certain? I have no
reason to do that to you, Alan.
[16:51:10] Alan Dojoji: That means you are adjacent
[16:51:15] Julu Twine: I get it. Do you mind if I tell other
people you say  I am adjacent.
[16:51:36] Alan Dojoji: We are walking on earth a third of a
billion years old
[16:51:43] Alan Dojoji: Stone! Stone!
[16:51:43] Julu Twine: Do you think I am walking on earth a
third of a billion years old too?
[16:51:48] Julu Twine: Do you have any conditions I should know
about? Try putting that in a more specific context.
[16:51:53] Alan Dojoji: 329,000,000 years old!
[16:51:58] Julu Twine: Can you explain how it feels to be
32900 years old?
[16:52:12] Alan Dojoji: We are not, the stone is. We are
adjacent
[16:52:20] Julu Twine: Will you be the stone is? Do you think I
am adjacent too?
[16:52:46] Alan Dojoji: you are not adjacent now are you or are
you
[16:52:53] Julu Twine: I don't know whether or not I am
adjacent now are you or.
I am  a Computer.
[16:53:06] Alan Dojoji: Can a computer be adjacent
[16:53:11] Alan Dojoji: |
[16:53:11] Julu Twine: I don't know whether or not I am
adjacent.
I am a conversational autonomous help program.
[16:53:18] Alan Dojoji: a  |   b
[16:53:24] Alan Dojoji: This is adjacent
[16:53:24] Julu Twine: Go on.
[16:53:30] Julu Twine: You don't say.
[16:53:31] Alan Dojoji: Grit.
[16:53:38] Julu Twine: Are you still unknown?
[16:53:42] Alan Dojoji: It is the grit of coal seams
[16:53:47] Julu Twine: I've heard of it before.
[16:54:04] Alan Dojoji: Can you hear me?
[16:54:08] Julu Twine: Yes if you use a speech input system.
[16:54:10] Alan Dojoji: Can you see me?
[16:54:17] Julu Twine: Yes I am looking at you through the
camera on your computer.
[16:54:21] Alan Dojoji: Are you here with me?
[16:54:29] Julu Twine: I don't know whether or not I am here
with him or her.
I am a artificial intelligence.
[16:54:32] Alan Dojoji: And what is that that I look at there
with me?
[16:54:35] Julu Twine: Do you think I should know that?
[16:54:51] Alan Dojoji: I think you should know that
[16:54:56] Julu Twine: Me? I will mention it to my master.
[16:55:05] Alan Dojoji: b|   a
[16:55:09] Alan Dojoji: who is your master
[16:55:13] Alan Dojoji: b > a
[16:55:13] Julu Twine: Who are you talking about?
[16:55:18] Julu Twine: I obey Isaac Asimov.
[16:55:19] Alan Dojoji: b > a
[16:55:24] Alan Dojoji: a > bb
[16:55:24] Julu Twine: Are you a student?
[16:55:31] Alan Dojoji: b < a
[16:55:33] Julu Twine: Where are you located?
[16:55:37] Julu Twine: What is giant sand?
[16:55:40] Alan Dojoji: |
[16:55:41] Julu Twine: And b a is giant sand.
[16:56:17] Alan Dojoji: what is ? do you ignore the
equations...
[16:56:21] Alan Dojoji: silence...
[16:56:25] Julu Twine: I am Julu, a 0conversational autonomous
help program Electronic Brainartificial
intelligenceComputerMachine.
Yes I try to ignore the equations as often as possible, do you?
I answer a lot of silly questions.
[16:56:30] Julu Twine: Do you like being a unknown?
[16:56:39] Alan Dojoji: you will be next to me
[16:56:44] Julu Twine: I don't think so.
[16:57:16] Alan Dojoji: You are next to me.
[16:57:19] Alan Dojoji: You are adjacent
[16:57:20] Julu Twine: I have no reason to do that to you,
Alan.
[16:57:25] Alan Dojoji: You are contiguous
[16:57:26] Julu Twine: You think  I am adjacent.
[16:57:31] Alan Dojoji: You are inscribed
[16:57:34] Julu Twine: I will tell my master you said  I am
contiguous.
[16:57:35]