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<nettime> sondheimogram x13
Alan Sondheim on Mon, 1 Jun 2009 04:24:50 +0200 (CEST)


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<nettime> sondheimogram x13


               [digested  {AT}  nettime --mod (tb)]

Alan Sondheim <sondheim {AT} panix.com>

     Eifachfilm Cacirca's installation (and some changes in mine) in SL
     borrowers    
     end of the tether     
     Purblind
     The Oddyssey Show going down in a few hours - last chance to see it
     Compression of Originary Bodies  
     Second Life Odyssey Party (and some practice jpgs)!  
     Second Life - Group notice: PARTY !!!!
     "Hello. Miss Dixon. And the Sum Pngs."     
     the lost Lost text  
     terpsichoreographic unit (t.u.)     
     World  (theory saying nothing)
     s/Mattering    

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Date: Fri, 27 Mar 2009 11:31:30 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: Eifachfilm Cacirca's installation (and some changes in mine) in SL

Eifachfilm Cacirca's installation (and some changes in mine) in SL


There's an installation by Eifachfilm Vacirca in Second Life - if you go
to my installation at http://slurl.com/secondlife/Odyssey/48/12/22 then go
to the area to the right with the strange texture - there's a three or
four story floating environment I like a great deal - do check it out - as
well as the texture itself - http://slurl.com/secondlife/Odyssey/72/45/58
might work directly. Sugar Seville did the ground, Gazira Babeli did the
meteors. Ian Murray's OCAD campus is in the background. All of this is
really worth seeing; I've spent quite a while with Einfachfilm's piece.

Some images of hir installation along with Sugar's textures and in
relation to mine at http://www.alansondheim.org/ eingazugar pngs.

(Some images and video of the dynamic aspects of my installation as of
yesterday at alansondheim.org - brb pngs and especially brb.mp4. All of
these are the latest, so at the top of the directory if you click the
date twice.)

Eifachfilm's installation exists on four levels, but there are ghost falls
reflecting the natural world, that reach the ground and below. It's spikey
and moody and it's good to stay awhile. I caught up with him somewhere in
my own piece and talked to him about it; it was about 3 a.m. my time. S/he
was in Zurich I believe and gave permission to include the following.

[23:57]  Alan Dojoji: hi - really like your installation - it's amazing
[23:58]  Eifachfilm Vacirca: tnx :)
[23:58]  Alan Dojoji: i hope it can stay up for a while and if you write
something & sent it to me I'd like to advertise it on the lists I'm on
[23:59]  Alan Dojoji: the detailing is beautiful and it's one of the few
things I've seen that works with nature in an intelligent way here
[23:59]  Alan Dojoji: it works well above Sugar's texture too
[23:59]  Eifachfilm Vacirca: it is very difficult for me to write about it
[0:00]  Eifachfilm Vacirca: its about cutting prims
[0:01]  Eifachfilm Vacirca: its about unique prims
[0:01]  Alan Dojoji: it's also about emissions and things that are only
partly there, almost peripheral I think
[0:01]  Eifachfilm Vacirca: about nature never generates copies
[0:01]  Alan Dojoji: but because we're familiar with - yes - and we're
familiar with romanticism so we tend to fill in the gaps
[0:02]  Alan Dojoji: azure and i go fungus hunting sometimes -
photographing slime molds and things - and this reminds me of that - you
stumble across small things that resonate
[0:03]  Alan Dojoji: and it's as if they're growing there instead of
possessing the kind of artificiality the trees have for example in this
space
[0:05]  Eifachfilm Vacirca: its like a musician
[0:05]  Eifachfilm Vacirca: i rez it
[0:05]  Alan Dojoji: ok -
[0:05]  Eifachfilm Vacirca: like a note i play in a jam session
[0:05]  Eifachfilm Vacirca: usualy you dont write it down
[0:06]  Eifachfilm Vacirca: it just happening
[0:06]  Eifachfilm Vacirca: some enjoy it
[0:06]  Eifachfilm Vacirca: some not
[0:06]  Alan Dojoji: it's intrinsic, not extrinsic
[0:07]  Eifachfilm Vacirca: a text about it will also give me the feeling
to cage it
[0:07]  Alan Dojoji: i mean what's present seems inherent, not
externalized - these sphere here are the opposite, they're following the
order of an avatar path
[0:07]  Alan Dojoji: at lesat with music improv - Derek Bailey for example
- there are writings about the music that don't pin it down -
[0:08]  Alan Dojoji: they're much more open than that
[0:08]  Alan Dojoji: i'd hope that good work here gives one the space to
think about things
[0:08]  Eifachfilm Vacirca: yes
[0:08]  Eifachfilm Vacirca: it happens
[0:09]  Eifachfilm Vacirca: people think a lot
[0:09]  Eifachfilm Vacirca: in here
[0:09]  Eifachfilm Vacirca: develop new social structures
[0:09]  Alan Dojoji: some do - some rely on easy surrealism or fantasy
here - i think most do
[0:09]  Eifachfilm Vacirca: and change em day by day
[0:10]  Eifachfilm Vacirca: it sthe pain you have to take with you


- Alan

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Date: Mon, 30 Mar 2009 00:59:15 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: borrowers    

borrowers

i'm making on borrowed time.
i'm living on borrowed time.
on borrowed space i'm making and making.
soon i will lose this space and i will take my tiny house with me.
where will my tiny house go, where will my tiny house go.
i am a snail in a shell. my shell is memory.
my shell goes where my memory follows.
it never was my land or online time.
it was someone else, you were that someone else.
in my second life i have over 2000 objects in my inventory.
a for of capital in an indefinite economy.
a political economy to be sure, with borrowing and small return.
oh where will i set my little objects.
where will i pile them.
on my head i shall pile them, on my stomach i shall pile them.
i shall pile them on my left hand and my right.
i shall pile them on my left leg and my right.
on my left forearm and wrist.
on my right forearm and wrist.
before my eyes and above my skull.
beneath my left foot and beneath my right.
i shall walk among my objects and my objects shall walk among me.
may i be an object among objects and may objects be among me.
a carapace of objects new jerusalems and shangri-las.
a shield of entities breathing the vacuum of simulation.
they are my borrowers, they disappear with the flow of blood.
with the flow of blood halting, halting they disappear.
with the brain dying, cell by cell by cell, they disappear.
who will preserve them now, who will keep them forever?
who will preserve them now, who will keep them forever?

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Date: Wed, 1 Apr 2009 03:48:43 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: end of the tether     

end of the tether

from one moment to another, the world is utterly irredeemable.
recuperation is always already impossible.
entanglement, indra's nets, irreversible: _just think about it._

http://www.alansondheim.org/ ripple pngs
http://www.alansondheim.org/generator.mp4
http://www.alansondheim.org/ gener pngs

i'm entangled between real which is virtual and virtual which is real.
i'm exhausted by inscription; i make mistakes.
i make far too many mistakes; i should be exiled from the virtual.
i should be abandoned to your fate.
now what is there about this.
what there is, i postulate
that there are regions of the cosmos _for all practical purposes_ that
are deeply disassociated from each other, regions that, _for all
practical purposes,_ are light-cone inaccessible.
and are inaccessible for the unutterable, unutterable information.
defuge sets in, _seeps in._ defuge entangles, transformed into
substance.
in this regard i am a total failure - exhaustion leading to errors
precisely as inscription stains.
i follow the trails of easy paths, ignoring the real hovering, within
the virtual, the virtual within the real.
you destroy myself.
await the tawdry. the sleazy, decrepit, o misery.
how can live with oneself, mind withdraws, vision blurs, range and
ring of the ears.
oh, so tangled, nothing resolves, you go to my death unresolved,
you forage among memory already fallen through, memory overcome.
for there is nothing but the unutterable moment, one moment to
another, each entangled, each absolutely disparate, on the verge of
collapse.


very much changed at  http://slurl.com/secondlife/Odyssey/48/12/22

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Date: Sat, 4 Apr 2009 01:25:38 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: Purblind

Purblind

http://www.alansondheim.org/ newanimal pngs
http://www.alansondheim.org/newanimal.mp4

If you're interested in online politics and the political economy of
virtual worlds, you might want to go to http://odysseyart.ning.com and
check out the Forum discussion on Odyssey's future. With my usual pess-
imism I wonder if Odyssey will survive all of this.

In the meantime I build hysterically, experimenting with new spatial
configurations and negotiations. In this installation (newanimal), very
large flats (thanks to Ian Murray) with images from motion-capture and
modeling research, are rotated at very high speed. The flats sense avatar
presence, have sound, emit particles, glow slightly, run askew in two
differentiated groups, and portray irresolvable and irresolute topologies.

This is why I'm purblind, unable to see beyond the texture of denouement.

http://slurl.com/secondlife/Odyssey/48/12/22

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Date: Sun, 5 Apr 2009 19:55:18 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: The Oddyssey Show going down in a few hours - last chance to see it

The Oddyssey Show going down in a few hours - last chance to see it

[11:17]  Sugar Seville: (Saved Sun Apr 05 11:58:49 2009) The giant devil
and the poor dead souls
I come to the place called Odyssey and very quickly I see some very scary
things that make me tremble like a cow who got cold milk. I see a terrible
thing which look like a giant devil that is made of all the colours in the
world and sound like a woman who keep saying the boy something the boy
something and I don't understand. All the poor dead souls float up and up
and one time I go too close and I go up also with the dead souls and I
think that I, me, Reinforcement Lemon, is dead. I get very sad and full of
panic. I don't want to be dead and I don't want to be at this place. But I
jump down somehow and get away and never ever go back there again.
[11:17]  Sugar Seville: (Saved Sun Apr 05 11:59:06 2009)
http://reinforcementlemon.blogspot.com/


| Alan Sondheim Mail archive:  http://sondheim.rupamsunyata.org/
| To access the Odyssey exhibition The Accidental Artist:
| http://slurl.com/secondlife/Odyssey/48/12/22
| Webpage (directory) at http://www.alansondheim.org
| sondheim {AT} panix.com, sondheim {AT} gmail.org, tel US 718-813-3285

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Date: Fri, 10 Apr 2009 03:05:44 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: Compression of Originary Bodies  

Compression of Originary Bodies


Consider 4 avatars:
f, m, F, M.
F, M, full bodies,
f, m, articulated armature figures
M parents F: F(M)
m conforms to F: F[m]
f conforms to M: M[f]
substituting with liberty:
F([m]M)->F([m]M[f])
F in relation to M, M root:
F(x,y,z,t), where x,y,z,t are real coordinates in 4-space
now consider this a compression of an originary body, B:
B:F([m]M[f]), B in movement from two bodies F' and M',
independent of each other such that H1=F'(x,y,z,t)+M'(x,y,z,t)
H1 = bvh dynamic motion file
now there is a transformation function
G(H1(F',M',x,y,z,t))->H2(F',M',x,y,z,t),
filtering H1, resulting in H2
now we have B(t):(H2(F([m]M[f]),F',M',x,y,z,t))
in other words:

The phenomenology of the originary body is dependent on a transformed
dynamic movement file applied to the compression-avatars.

this says nothing mathematically (and is poor math at that); however,
it describes the site of intrinsic performance, evidenced in over.mp4

what does this say but movement files composed of many bodies are
applied to bodies composed of many avatars

we might think of such bodies as matrix-bodies or skein bodies:
what we are witnessing are communities of the virtual body, somewhat
equivalent to the body of virtual communities
think of these as dispersions and coalescences

correct my math.

http://www.alansondheim.org/over.mp4

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Date: Fri, 17 Apr 2009 02:41:01 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
To: nettime-l {AT} kein.org
Subject: Second Life Odyssey Party (and some practice jpgs)!  

Party and some practice jpgs!

practice jpgs at http://www.alansondheim.org/ practice

Date: Thu, Apr 16, 2009 at 6:14 PM
Subject: Second Life - Group notice: PARTY !!!!


Group Notice From: Evo Szuyuan

Hi all! Tomorrow it's party time!!!
17 april 3 PM PST
Starring dj Loop Lou
A performance by Alan Sondheim and Foofwa d'Imobilite
Interference by Gazira Babeli
Group Therapy by Second Front
try to be on time, as the sim might crash ! ! !

<3 evo

ps.. there is still an opportunity for those who wanna decorate, serve
drinks etc. etc. ;-)

---

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Date: Sat, 25 Apr 2009 02:35:14 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: "Hello. Miss Dixon. And the Sum Pngs."     

"Hello. Miss Dixon. And the Sum Pngs."

"Is your mother going to marry that mister Wheeler." "My dad hasn't even
agreed to a divorce yet." "Come on Ann snap out of it. Let's have fun."
"It's good." "Thatta girl." "Why I didn't know you smoked." "Try a puff."
"Oh I don't think I ought to." "Oh come on snap out of this baby stuff."
"Don't let it throw you." "Smart girl." "I can see where we're going to
have some swell times together." "I kinda like him too." "Hiya there
Tommy." "Sorry pal I'm not going your way today." "Let me have the last
half of that Latin assignment." "I've been waiting for you." "That's nice
of you." http://www.alansondheim.org/ sum pngs replacing some others more
tunings textures revolutions "This evening you will be my wife." "Am I
blushing." "This is about a traveling farmer." "A very hot number." "Does
that lad know his stuff!" "Oooh." "Do you know that boy Tracy." "Are you
kidding me." "Nobody could get that dumb." "You asked for it." "This party
must be getting rough." "All right ladies." "Sorry I didn't take you right
home." "No I'm glad it's lovely here." "Look." "Where." "There." "Tommy
you musn't." "Have one." "No honey look, like this." "Hey where are you."
"Tommy. Ann." "Women and children first." "Well come on." "Unfinished
business. You understand." "I fooled them." "No Tommy." "How about a
little walk." "Look at that moon." "I'd rather look at you." "I'm crazy
about you." "Really Tommy." "Kids never know what time it is." "Stop
worrying and come to bed." "Goodnight Tommy." "All gone." "I feel so funny
Tommy." "Do you honey." "Don't you feel kind of funny too baby." "You'd be
surprised." "Dearest I love you." "You can read it in my eyes." "What a
world of rapture lies." "Most of the gang's here." "Where's that guy with
his hand organ." "Watch your hips don't let them sag." "Gosh I sort of
like this joint." "Think about it darling. You picked the last one." "I
won't have any more after this one." "Look over there in the first booth.
The little brunette. What a dish." "Rather loose-leaf." "Ok brother. Don't
phone me from jail."

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Date: Tue, 28 Apr 2009 20:05:48 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: the lost Lost text  

the lost Lost text

The main text from the Lost Project created for the trAce online writing 
community; visitors to the site were asked to enter their email address and 
then describe something they lost. On "playback" the list of email addresses 
was separated from the list of the lost; in other words, the tether was broken. 
The text of what was lost is a form of literature itself; it had disappeared in 
my files until now. What was lost is now found, what is found can never be 
recuperated. I think the Lost Project is still located at the trAce archives; 
trAce ended as a community headed by Sue Thomas, a few years ago. The project 
was created around 1999-2000, when I was trAce's second virtual 
writer-in-residence. Please check out the text; it's oddly beautiful, the 
result of so many minds.

http://www.alansondheim.org/lost.txt

The trAce Lost Project and others

http://tracearchive.ntu.ac.uk/writers/sondheim/index.htm

I want to thank again everyone who made this possible at the time.

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Date: Fri, 1 May 2009 03:14:19 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: terpsichoreographic unit (t.u.)     

terpsichoreographic unit (t.u.)

there are two types of t.u.s - one possessing the pylon of the sleeper,
the other a black featureless sphere.
a dancer/performer sits on either and an animation takes over until
s/he rises. there are five animations for each t.u. chosen at random.
spherical shells of particles embed the performer.
the black featureless sphere is a black hole with an inverted event
horizon. the particles may trap the display driver into crashing.
the display driver enters overload and the interface enters crash mode.
the pylon sleeper t.u. is a dream production machine trapping the
dancer into useless dream production particle phenomena. the particles
may trap the display driver into crashing.
the display driver enters overload and the interface enters crash mode.
a t.u. DANCE consists of 4-5 t.u.s in an environment with performers on
each. performers may stand and move to other t.u.s.
the t.u. INSTALLATION may be placed anywhere at a moment's notice.
variables include animations, particle textures and stream intensities.
of course one may dance in the vicinity of particle streams which
continue for at least thirty seconds after the performer stands.
one may also assign physicality to the pylon or black featureless
sphere, in which case the object may be GRABBED during particle
emission and moved; this creates temporary particle FLORA within the
performance space.
videos below give some indication (between computer crashes) of the
mechanism; stills give a few closeups.

http://www.alansondheim.org/wrrr.mov
http://www.alansondheim.org/wrrr2.mov
http://www.alansondheim.org/ wrrr pngs

thanks to Eifachfilm Vacirca for script and script modification.

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Date: Sun, 24 May 2009 23:49:54 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: World  (theory saying nothing)

World

String theory knocks a loop into analog/digital, nothing remains certain
that is one way or another, what occurs can be read accordingly pre/sent
or sent/from. Holographic theory knocks a loop into ding-an-sich, / Ding
an sich Ding an sich is unknowable though certainly /: The roads to the
visible real are tortured, one can't say anything. This is the dead-end of
philosophy, with the exception of the social - you have justice and ethics
beneath the aegis of situational heuristics, but one ultimately appeals at
best to primatology without teleology or theology. What happens to the
episteme, epistemology, around the circuits of a black hole? The ontology
of strings and information scattered (presented, coded, irretrievable)
might as well devolve into mathesis where ideality itself is problematic:
At the end of the day, nothing remains, but everything is present; nothing
is everything, and so forth. The broken ontology of the middle way is
broken in another and more radical way: Nothing can be said, because what
there is, is literally unsayable. Try translating equation into language,
language into everyday doxa, dark matter into descriptors, descriptors
into primitives, primitives into foundations. Give it a go: That the movie
we watch is ourselves watching the movie, that projection is sourceless,
that every four vector carries the potential of an imaginary. There's no
'it' to go farther than this: We are the dream-screen of an unconscious
universe, no matter how far, how many conventions, dimensions. Convention:
What we call as a past posterior. Accountability: Unaccountability. It's
the knife-edge of good things in catastrophe theory transmuted through
classicism into the anthropic principle, mythos of origins. Cause and
effect: Scattered. Hallucinated projections named 'real' by hallucinated
projections. The buildup of dimensions, topologies, branes, dark-matter,
virtualities: No buildup at all, the baroque edifice of something given
meaning by something naming by some fantasm or an other. Membrane/brane
among Planck's lengths, masses, times, embedded seethed or froths as if
non-embedded. You can always: Add, subtend, augment, the pressure of
mathesis, eventually loose consistencies, heuristics, seem to dominate:
The four-color theorem as example. What of this? In the small: Classical
logics, set theories, Ptolemy and Kepler: Reductions because math can do
that. Divide and spread, emit, spew, sourceless, targetless, broiling,
then what might be phenomenologies of coagulations: Maybe Wolfram's
automata giving shrift to these, cells falling apart, failing, location-
less. So we're: Present and accounted for as-if 'among us': Therefore a
literary as if 'object and process' or one or another ontology, creaky but
functional epistemologies: As long as the hallucinogenic withdraws,
'doesn't look too close,' as if 'there were looking,' as if 'there were a
ground of one sort or another,' of which: None of these, they're knot.

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Date: Sun, 31 May 2009 20:55:46 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: s/Mattering    

s/Mattering

1. the only thing that Matters is understanding the universe.
1a. this is a matter of connoisseurship as well as 'ultimate questions.'
1b. every ultimate question is not ultimate and all questions are the
wrong questions.
2. arts and humanities are no use whatsoever in this regard. at best they
may pander metaphors; embody them; critique the embodiment.
2a. yet any understanding is a prior a misrecognition, false translation.
2b. we are not equipped for anything more; we are equipped for survival,
not comprehension.
3. Lyotard never went far enough; it's not the sun's death which is
paramount, but the dissolution of a universe so utterly alien as to resist
both hermeneutics and phenomenology.
4. human culture is fluttering among the surfacing of the skein. culture
is all the way down; every organism is cultured, historic.
5. the future of the surface of the planet crudely parallels universal
dissolution; one tends to construct rear-guard defenses for this or that -
anything to retard decay.
6. from the moment of birth, decay begins; later sight and sound diminish
in amplitude and bandwidth; the world with draws to where it always was.
7. withdrawal from the world is impossible; instead, the body moves from
subject to object along a broken trajectory.
8. heaven is impossible because only the injured and traumatized blindly
arrive there.
9. understanding the universe, no matter what strategy is employed, comes
down to mathesis increasingly cut off from the everyday; ontology shifts
accordingly, subtlely, until one is as ignorant as ever, even with
conscious assimilation of equation, structure, fact.
10. facts are not all that contestable in the small.
11. one is increasingly led to believe in roiling heuristics, anthropic
probabilities (miniscule in the large), and an utterly deep inelegance -
perhaps including the abandonment of Occam's razor as well.
12. what is simple falls through itself, crosses epistemologies, ontolog-
ically slinks elsewhere.
13. what is simple is false.
14. what is inelegant is glorious.

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