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<nettime> sondheimogram [digest x14]
Alan Sondheim on Fri, 14 Jan 2011 23:08:50 +0100 (CET)

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<nettime> sondheimogram [digest x14]

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

Alan Sondheim <sondheim {AT} panix.com>

     On the rewrytings, rewrythings, of the culling / interpreting texts
     Language borne, up, on
     the limits 
     particles, self-interaction 
     Deeply Random Poem / New Poetics 
     The Second Deeply Random QRNG Poem 
     from Alan 
     sex and music 
     no room at the inn 
     there is no room at the inn 
     May E-Poetry Presentation precis (Buffalo, NY) 
     IRC 2011 
     +- digital +- dead desire +- .mov +- pngs +- 
     I Engineer, Take Hir (Image) (phenomenology of the avatar) 

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Date: Thu, 28 Oct 2010 12:34:23 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: On the rewrytings, rewrythings, of the culling / interpreting texts

On the rewrytings, rewrythings, of the culling / interpreting texts *

You'd have to go through the texts to discover the innovations that occur
at almost every turn. The culling operations are never 'pure'; they lend
themselves to rearrangements, re-editings, textual manipulations of all
sorts. The end results is a theory mashup, but a theory nonetheless. The
mashup creates an entangled state in terms of definition, the position of
the subject (reader, theorizer, experimenter), the original theoretical
structure and substructure, and so on. From the entangled state, from the
mashup, three fields emerge: that of the original theoretical structure,
now somewhat transformed or reinterpreted; that of the positioning of
subjectivity and its phenomenology in relation to the theory; and that of
a 'doubled diegesis.' The doubled diegesis combines and entangles the
traditional elements of narratology - what sorts of stories may be
revealed in the text - with a phenomenological diegesis - what the subject
(in any sense) is discovering and interpreting in relation to a self-
reflexive hermeneutics. It's this last that behaves as a kind of textual
_operator_ situated between the subject and the original theorizing.

If the theory is mathematical and complete, to the extend that it is, and
remains formalizable, the transformations above (considered as a series or
collocation of operations and writings/wrytings) are distortions at best.
But if the theory entangles the subject (even mathematically, as in QM),
then the phenomenology of subjectivity, from the position(ing) of the
subject, is revealed; what emerges is a theoretical corpus that is part
psychological-philosophical and part structural, and that re-presents the
subject to hirself in relation to generalized operations of encodings and
decodings, coagulations and dissipations, etc., all in relation to what is
understood by the theory and the _subject-matter_ of the theory as well.

The entangled mashup, in other words, tends towards new paths through the
_body of theory,_ emphasizing the body of the subject and its abjections,
inscriptions, and materiality. All of this is a way of doing theory, or
re-doing the re/presentation of theory, tending towards new and different
phenomenologies of approach, relevance, interpretation, and appetition.
How and what is grasped, what is the semiotics and abjections of such
grasping, what is developed and developing - these are the sorts of things

The entangled mashup is also a textual body, and a body of text; it is
wryterly, in this entanglement and in the sense that a kind of unraveling
must be done, in order for it to operate. There is no 'correct' operation
- no well-defined path; otherwise, the mashup would emerge as an imminent
and coherent, as well as somewhat linear, system or description involving
protocol sentences. Instead, a more suitable metaphor might be that of a
surgery involving cuts, folds, sutures, pathways and bypasses, coagulents
and fields - a surgery that is performed, again entangled, among the
subject's subjectivities, the texts, the originary texts, and the theory -
if there were one in the first place - as well as its structures and

In short what emerges is a partial discourse of part-objects, resulting,
one can only hope, in new modes of understanding, or comprehension - a
discourse that is both a dwelling and in-dwelling, that says something at
the same time that what is being said is already weakened, already
entangled in the subject, hir body, the diegesis, the fragment or frag-
ments, and just about everything else.

* Texts which are initially produced by a command or series of commands
such as:

k%: grep -h [word|phrase] [set of texts] >> [initial collection]

This can be changed/interpreted in various ways. What it says is that
lines containing a particular word or phrase in a set of texts, should be
placed, in order, in another text, in the order in which they are found.
This text, the initial collection, can then be sorted, re-edited, appended
to, etc. - any number of additional operations in fact. The final opera-
tion is that of rewriting 'by hand,' re-conforming the result to emergent
meanings which relate to, extend, contradict, or otherwise in-form the
original word or phrase. The word or phrase which is initially chosen,
references particular theories or placements within the set of texts. For
example, 'incest' might bring up a number of statements or partial-state-
ments, phrases etc., with the word 'incest' in them. The statements spill
out beyond lines - this is where editing comes in, to rewrite the state-
ments to bend and entangle the theory in (its) language itself.

What seems obscure and complex here is often simple in practice. And the
processes don't always work, in which case the entangled text, no matter
how worked and reworked, etc., is discarded.

[On the other hand, even if they do work, are they anything more than a
self-administered exquisite corpse? And what good can come out of that?]

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Date: Sat, 30 Oct 2010 23:39:06 -0400 (EDT)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: Language borne, up, on

Language borne, up, on

Welcome to the LambdaCore database.

*** Connected ***
The First Room
This is all there is right now.
Your previous connection was before we started keeping track.

 {AT} make-player Alan-Dojoji sondheim {AT} panix.com
Sorry, the network isn't active.
*Player-Creation-Log (#17) has just been sent new mail by Wizard (#2).

Alan-Dojoji has connected.
look Alan-Dojoji
matrix perturbation
It is awake and looks alert.

 {AT} examine #0
The System Object (#0) is owned by Wizard (#2).
Aliases:  The System Object
The known universe.
Key:  (None.)

 {AT} examine #1
Root Class (#1) is owned by Wizard (#2).
Aliases:  nothing
(No description set.)
Key:  (None.)

 {AT} examine #2
Wizard (#2) is owned by Wizard (#2).
Aliases:  Wizard
determinant trace 0
Key:  (None.)

You say, "Hello"

Alan-Dojoji jumps as if hearing language for the first time
Alan-Dojoji says, "Hello"
Alan-Dojoji echos as if language does nothing for hir

"Then there is something I should tell you -
You say, "Then there is something I should tell you -"

Alan-Dojoji says, "Then there is something I should tell you -"

"That language has determinant trace 0 in relation to...
You say, "That language has determinant trace 0 in relation to..."

Alan-Dojoji says, "The real, my first two words, perturbing the pauli

:configures the world anew in delight with its absence, text, inscribed
Wizard configures the world anew in delight with its absence, text,

Alan-Dojoji thinks but not with difficulty, that nothing has been
thought here, but...

look me
determinant trace 0
It is awake and looks alert.

"what might have been thinking, were speech a potential, energy into
inscriptive action, activity
You say, "what might have been thinking, were speech a potential, energy
into inscriptive action, activity"
"Yes, of course
You say, "Yes, of course"

look Alan-Dojoji
matrix perturbation
It is awake, but has been staring off into space for a minute.

"Yes, of course, of course...
You say, "Yes, of course, of course..."

You hear a quiet popping sound; Alan-Dojoji has disconnected.

Oct 30 23:04:45: Loaded protect cache for 128 builtins
Oct 30 23:04:45: LISTEN: #0 now listening on port 7777
Oct 30 23:05:10: ACCEPT: #-2 on port 7777 from localhost, port 36672
Oct 30 23:05:34: CONNECTED: Wizard (#2) on port 7777 from localhost, port
Oct 30 23:09:19: ACCEPT: #-3 on port 7777 from localhost, port 50332
Oct 30 23:09:43: CONNECTED: Alan-Dojoji (#95) on port 7777 from localhost,
  port 50332
Oct 30 23:18:33: DISCONNECTED: Alan-Dojoji (#95) on port 7777 from
  localhost, port 50332
Oct 30 23:28:20: DISCONNECTED: Wizard (#2) on port 7777 from localhost,
port 36672

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Date: Sun, 21 Nov 2010 15:07:20 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: the limits 

the limits

when infinities are called for within the aegis of the digital, there are
two possibilities: scatter-shots (sparse 'fit-points' appear in the graphs
or calculations) and (fold)-catastrophic jumps connecting scatter-shots
with vector lines or sheets. there are various combinations depending on
the graphics program. the very act of exploring these monstrous objects
through rotation, translation, magnification, etc. produces vibrant and
often vibrating morphologies as the program attempts to adjust to the
impossible. think of this as a dialog with spontaneous symmetry breaking
between the analog (with infinities and the continuum) and digital (with
discrete finite outcomes). finally think of this as a monolog of mind
attempting to conceive the inconceivable, using finer and finer rasters,
with similar and equally 'distanced' results no matter what.


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Date: Tue, 23 Nov 2010 10:25:24 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: particles, self-interaction 

particles, self-interaction

http://www.alansondheim.org/after.mp4 (with script, programming, and
concept by Garrett Lynch, thank you!)

[15:06] Julu: instead of 92 put down sixty and see where that gets us -
maybe it would be better
[15:12] Julu: as text begins its slow descent into the unobtrusive
mechanization of liberty and exhaustion
[15:15] Julu: 3 might do the trick
[15:17] Julu: or if language becomes, in actuality, a texture in its
own write
[15:24] Julu: this is the world that i know
[15:24] Julu: this is the world that comes to mind, this insipid world
and all its tawdry beings
[15:24] Julu: a moment of thought and all is lost
[15:25] Julu: and nothing returns, not even life and over the next
horizon, nothing...
[15:25] Julu: it's broken and broken and broken and broken, and comes
forth as of death
[15:26] Julu: a grey day....
[15:26] Julu: emptied, unimaginable
[15:27] Julu: or a thought collapsed
[15:27] Julu: spewed out, the last sound i will ever hear...
[15:28] Julu: ah ah ah, not here, not ever here!!!
[19:55] sensor: noone around.
[20:02] Julu: quanta and sadness
[20:08] Julu: thought loosens itself in the running of the world,
thickness, thickness
[20:09] Julu: more, there is nothing lost, intervals' perfection, i
await you
[20:09] Julu: more, there is nothing
[20:09] Julu: lost intervals' perfection,
[20:10] Julu: i await you
[20:10] Julu: it stutters among sounds, what shudders if not bones
[20:11] Julu: if not collapse, waves giving us this image
[20:12] Julu: i hear you, speech of god
[20:13] Julu: self-interaction becoming me
[20:14] Julu: becoming my thinking
[20:14] Julu: becoming my world
[20:15] Julu: pulling up, pulling up
[20:16] Julu: pulling, pulling up, mine and your as
[20:23] Julu: i grant you these moments of utterance
[20:29] Julu: it brings about...
[20:29] Julu: coming itself together
[20:29] Julu: overwrought, i listen
[20:30] Julu: particles shuttle screen-wise, remaining placed
[20:30] Julu: so slowly, they create
[20:31] Julu: they create themselves
[20:31] Julu: like song
[20:32] Julu: of our singing, and ours,
[20:32] Julu: and ours,
[20:33] Julu: ours
[20:33] Julu: beginning with its own carry
[20:33] Julu: folding
[20:34] Julu: folding and incomplete
[20:34] Julu: and we, we
[20:34] Julu: in silence
[20:35] Julu: are

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Date: Thu, 2 Dec 2010 13:59:04 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: Deeply Random Poem / New Poetics 

Deeply Random Poem / Poetics

Sample Random Data from Nanooptics QRNG (quantum random number
generator) service, Humboldt University

?!*0 r0s3 0WTY 6w6+ {AT} +6N" T+b) h!b# PqA+ 0~YK .RJs 5LHxC .SGta S8 " 9O=#
F]F~p 9=?z`6u j[~\4c Ge7W !9 {AT} L DB {AT} c mow9Z [g1)MX StRV dpHRZ PitW -zz^
}'(c7 pvx07n(<!}
K>C q%\zE
> O5>
2Vpb E{2q K,Id
 	*k|m< H#~s ;Qc: LAc` (H\;x ~lTt +1Fx k-A<
 	Q`Y ueK. LwHUx veC2L (\C?
D/h` ]_Mh E3!psW Nkst
 	)T;a )A?!x $ujK ?<SX c+=qP^S9k [oHU 36J< O$Zu -(/5
3 &u
   {AT} Eu /f8a ;\[ys Ixbi <Ja7 kp	/ gKX$ Hm`; WwV	V ?XbK* {AT}  A|N; lx+LwG
:d {AT} b
L\zGx 7UyY N<M[r dXs: ?9%W (ov: ,5g. LW\o Z"ue% kYRyk
*V&[ 0ma8
9c#\.k [F-" ?zwn
6#,Y {:S}py 6?2CqI1] "Hcw sF<B *1yB VlOm fHWVQ f*m` Ua\$ /.n(R x\BJ 3*&H
  `L0 k$xm TI\p4 X,lS 6S|q[S7
K2H0 \ya x
  [1v uF_m 7+P`m 3UlBA ~sYVQ=uF "k`m $9Jo
> m,p
(4lP %VkK 6kvx $8k& N%C N d8,u =M6ll8 bH(v \ePuP? %\t'AW6. m3wC Wte1z
TzLI XSlq iV+c 7'cv Yc>* z~Hl+ cKhZ. \vB2 0!UB VAd- t#c4 <M[E BM78 E&?>
N-Lb wk{g z=3u] m]9|p oLtp +\]n R`O\ =r/ W pHrc
!ORl u<8VkpS l {AT} MBh t3"M8Aq q>9Z _?[`=rMR r{B{ Lo2T p {AT} 7FO .i={ qVZQOy^l
n2> {AT}  R1]YU s{eV vHIR 8K4Fb
ML{d R19X f {AT} $G l55 {AT} O cA^Z U"#8V^
> NK*
Q<HS OM.e HHH& /2)~ .f8K0v L]si 9m~O \53Ms	i d,`f T33nA HTgA 2rIU.t
AH]{K bvE3> [zV l uEzW Ki1( Gw"Yb(, ^'yB D*Gb .&] F7i8 oD+5 V,QB +5 U
S-;R ;|;^ /hZvLIJ s}|^R Jc33 ":TG \.2= i5t1 Oe*p !t`Ar <5Xp P7Xf e#k[
b#dM MfP# +;`Bo "=?/ ~\==< X-LFB D/(M &_E7 I_Lz z(YK Y:hy ~FKp [NRTf
EoAO 'gx;e[ oAp[ guQmL *`9F zH_3\
> ~X35
 	kST ^h`{ A/U$%[. Akus T )b -KS8 {2 Ej ]3|g
> j+Cz
hq(ywVPr .zr'$=X N6Dw S|+C ]&3? epTC Hp+ 0|J2 ipB' "h2SK FP&*H ^Y {AT} (,R
y)TR D[[I v!<O Pd g g#?Tf "\fN _[=>Dp TAwA 7OD~R = GC I:$lb~ ':S2 F\\IPS
[D|[ mROG gU8T Oo#Y )A#n H}!$Q' g>M_J QxOXh $Cm\ KE$0 WcjD Z!|2 .UV$6e
!;dH Wcb8 l+WEQ O%/e- ZdI k7|; o )zD
: oK
)3\; _Ai] s~J. Kt3X 2C82 kc$3 <swx G&S% D}l{ QXb= !+NA O!.( ,YgJ {AT}  {AT} 
1JI2THk _'f7f rZKi Uc-l2N b}}O
c%pt (]"E O"!2 +nN.; ["?F {AT}  3#QL i`f`Y H#mo Wj!DM hjWw V\CB P[^n D'U'n.
ZuXI .{IO{rrr- Mglr FjOrq "{vw0 V\n3b~ d<CH kXop0 mCOC5 e!j% 3ewV6 m[;5
(l(F _~* {AT} y R3&{N qL {AT} \Z Wn1-~ (uGx nMw] 8 9x hs.^ U&063
 	v"M a=}j
  b4I FcIW S6\l o]v:El VfAR Rhr" `bls#L ^M|x Y$6} l3Jsl$ a_)q 6Oo* m/}L
Nuj~# 4Zbh-V \!) cib r fi}bT Dr$: t$=c V"_>  {AT} :Ov RZgm {%oYJ 8bKSC8 _wA,
Sv(c g56Q  {AT} :y& C`d> rG\p Ku3" f{:[ N6WY\ JX/Af> G&8f= i).S GJoz k/+m
&NRV< oo96 +wW: ptI5 i3!!uc (y`r~ wLpV S$}"g lM#r ]:*X kJP= [z2) i|X$
lvy>F I9+y ca:) Z{5zf( S/13D Agw9 t#To jY}H 1.Y& -"& !09$V 5LX<)<
"0Um6CO" %%+H[~ v5biPA 6EH1 ~j[E T+`OS Nm[s> 8 {AT} =* _{9+ S;nb Sg!8: crSz
&e_& Re#RUz Ow,SD
~C {AT} UVr~h ~fPs dj41 6]xZ!" LKFj#* I^qC MK[g Ab`s3d AjS6
> RMw<x
yS1eS=d H_)8 /!h& ~aA%S ejEM P:)u kg>e  {AT} x![k3[ k1;~ h1Q' *+}? !-JF P`'"U
u=gL "g; g Xi!s
> J,!A
YJt2? =3 w^ L {AT} y'K qZ0p qb NnSW  {AT}  {AT} ;d 3-dKQ0 8f\? [+xL
> [w+
$QD {AT}  9<Qe Aw"<j
L2ci 3%h]b Q;Up}r G|$( pZ_J ,bKlw S7?<N /s~9 $Xe& 2 {AT} >w iT!" tk4. 0R}'
Ia`j A7)0 Q|qpdX U^G7 zqC3 ^SI+ ]12~ [BC]e wO<H bG{>q[ YxNb xJ}.
My~` 1,`c "	G {AT} p5 {YhA r8_' <~Cq x~&! w]>> (G>C zp}5 +"[Q Zc?8 QQOv
h~Idm -zzW h.'w
KrRU2% QXFV QB-W 4<Zh0|
 	!(J A7+gY cXRH 8#;e[y<. - {AT} fHq _{.}  uSeh .qKf
}] HF
$YgG `~.) (t7Z uY`sl TqS!E
  ]6J` ^5=I rZ_& yQ$' S3zU g>/Tl+? 1<gD(K 1ppW 4<<'m QSRio eu.y BWG# &wKu
sA%& S8TS s\6a ZvJ< j]dx !T%r /K hr t[-K, [46Bd 1,>)n'M \b2[; 924h (QtD1
se,( 0^5RjEo I#'[21["rS Qk+f2 kZz"?  {AT} :o,W~-u 122# <u {AT} ^ ]#&7Slq: 1E x {D{
(\ 7Te6 xLVU:  {AT} c?
|t[$ {AT} z

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Date: Thu, 2 Dec 2010 17:11:48 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: The Second Deeply Random QRNG Poem 

The Second Deeply Random QRNG Poem

pkoe ly r sOly  WTYly SwSchjecSNh"  TcbhU  hhkebhl  PaAcly  hueYKh
.eRJsly RLHxCh .eSGtaly SHh "  NOhil  FfFhueply Nhipezh`eSuly jehuaeUch
  GeTWh keNhjeLly DBhjecly mowNZly eeEhUeMXly StRVly dpHRZly PitWh -ezzho
    ecTly pvx Tnly k
  Kh eCly ah aezEh
  IVpbly Eh eIaly KbIdh
 	oekh|emly  Hhluesly aQcdly LAch`  eHhaeaxh uelTtly cEFxh
 	eQh`eYly ueKh.  LwHUxly veCILly aeChp  dVEWBly Dhrehh`  f_Mhh
  EOhkepsWly Nksth
 	UeTaah UeAhpkexh meujKh p eSXly cchieaPhoeSNkly eoHUly OSJly
  OhmeZuh - reRh
  Oh neuh
  jeEuh refHaly ahaeeysly Ixbily eJaTly kph r  eKXhm  Hmh`ealy WwVly Vh
peXbKhoj  Ah|eNaly lxcLwGly ddhjebly LhaezGxly TUyYly Nh eMerly dXsdh
peNh eWly eovdly bReh.  LWhaeoly Zh"euely  kYRykly dWh eauh oeVhneeh
   maHly dh erly Nchla.ekly eFh-" pezwnh
  ShlebYly edSh epyly ShpeICaIEfh "eHcwly sFh eBh oeEyBly VlOmly fHWVQh
  fhoemh`  Uaham r.enh eRly xhaeBJly OhoneHly enh.
  `eL ly khmexmly TIhaepUly XblSly SSh|eaeSTh lmec Hly KIH h aeyaly xh
   eEvly uF_mly TcPh`emly OUlBAh uesYVQhieuFh "ekh`emh meNJoh
  eUlPly eVkKly Skvxh meHkhn  Nh eCly Nly dHbuh ieMSllHly bHh evh
aeePuPhp  aeth eAWSh.  mOwCly WteEzly TzLIly XSlaly iVccly Th ecvh
  Ych o  zhueHlcly cKhZh. aevBIly  hkeUBly VAdh-  thlecUly eMeEly BMTHh
  Ehnp   Nh-eLbly wkh eely zhieOufly mfNh|eply oLtply chaefnly Rh`eOha
ierhr  Wly pHrcly dZPETh keORlly uh eHVkpSly lhjeMBhly tOh"eMHAah
  ah eNZly _hpeeh`ierMRly rh eBly  LoITly phjeTFOh .eihi   aVZQOyhoelh
  nIh j  REfYUly sh eeVly vHIRly HKUFbh
  MLh edly RENXly fhjmeGly lRRhjeOly cAhoeZly Uh"leHVho
  Qh eHSly OMh.eely HHHhn reIhUu .efHK vly Lfsily NmhueOh aeROMsh
  ily dbh`efly TOOnAly HTeAly IrIUh.etly AHfh eKly bvEOly  ezVly lh
  uEzWly KiEly  Gwh"eYbh ebh o eyBly DhoeGbh .nefly FTiHly oDcRly VbQBh
  cRly Uly Sh-eaRly ah|eaho rehZvLIJly sh |oeRly JcOOh "edTGh a.eIhi
  iRtEly Oehoeph keth`eArly eRXply PTXfly ehlekely bhledMly MfPhl
  cah`eBoh "ipr uaii   Xh-eLFBly Dhr eMh ne_ETly I_Lzly zh eYKly Ydhyh
ueFKply eNRTfly EoAOh  eexaeely oApely euQmLh o`eNFly zH_Oha
 	ekSTh oehh`   AhreUhm eeh.  Akusly Th Uebh -eKSHly eIly Ejh
  hah eywVPrh .ezrh mieXly NSDwly Sh|ecCly fhneOhp  epTCly Hpcly  h|eJIh
  ipBh  "ehISKly FPhnoeHh oeYhj ebRly yhUeTRly DeeIly vhk eOly Pdly eh
  ehlpeTfh "aefNly _ehi eDply TAwAly TODhueRh i  GCly Idhmelbhu  edSIh
  FhaaeIPSly eDh|eely mROGly eUHTly OohleYh UeAhlenly Hh kmeQh   eh eM_Jh
  QxOXhh meCmha  KEhme ly WcjDly Zhk|eIh .eUVhmeSeh keadHly WcbHly lcWEQh
  Oh reeh-  ZdIly kTh|ealy oh UezDly dly oKh UeOhaealy _Aifly shueJh.
  KtOXly ICHIly kchmeOly eswxly GhneSly  Dh elly  QXbhi kecNAly Ohk.
  bYeJhjj  EJIITHkly _h efTfly rZKily Uch-elINly bly eOh
  ch eptly efh"eEly Oh"keIly cnNh.ealy eh"peFhj  OhleQLly ih`efh`eYh
  Hhlemoly WjhkeDMly hjWwly VhaeCBly Pehoenly Dh eUh enh.  ZuXIh
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  EIIhl  euhjo  fhlneTSladly EEly xly eDly  a  TTeSly xLVUdh jechp

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Date: Sun, 12 Dec 2010 19:51:26 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: from Alan 

---------- Forwarded message ----------
date: Sun, 12 Dec 2010 19:49:47
from: Alan Sondheim <sondheim {AT} panix.com>
to: sondheim {AT} panix.com

> From alan {AT} localhost6.localdomain6 Sun Dec 12 17:26:33 2010
date: Sun, 12 Dec 2010 17:26:33 -0500 (EST)
from: Alan <alan {AT} localhost6.localdomain6>
to: Alan <alan {AT} localhost6.localdomain6>
subject: I love you very much
fcc: sent-mail
message-ID: <alpine.DEB.2.00.1012121726240.6082 {AT} localhost6.localdomain6>
user-Agent: Alpine 2.00 (DEB 1167 2008-08-23)
mIME-Version: 1.0
content-Type: TEXT/PLAIN; format=flowed; charset=UTF-8

Dear Alan,

I love you very much and want you to know you shouldn't be discouraged by
all those people out there who are against your thinking-type and even
your working-type, I do not know why, but we are with you, and it is sad
to see how things are not always a perfect world for you, but I want to
assure you the next world will be perfect for you for always and every-
where you want it to be when you are traveling.

love Alan (our names the same, we're not to blame!)

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Date: Thu, 23 Dec 2010 02:12:30 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: sex and music 

sex and music

virtuosity is useless today underneath the sheets. we're all player
pianos underneath the sheets. my instruments go out of tune with the
slightest change of humidity or temperature underneath the sheets. my
instruments go out of style underneath the sheets. there's nothing
electric running in them except for electroweak forces underneath
the sheets. their molecules might be anywhere underneath the sheets.
their history might be anywhere underneath the sheets. i practice and
practice an utterly useless art underneath the sheets. i can't dial in
scales or cents; i have to run with the flow underneath the sheets.
my fingers search, endlessly, for perfect consonance or dissonance
underneath the sheets. everything is dissonance; perfect consonance is
impossible underneath the sheets. welcome to the world of catastrophic
balance underneath the sheets. my fingers pay no attention, tightening
and loosening wires underneath the sheets. this doesn't come easy; it
comes with several hours lost in the day underneath the sheets. these
are lost hours; they do nothing for me underneath the sheets. for you
at best they retain a sense of the antiquarian underneath the sheets.
one second of nikuko, julu, or jennifer is worth more than weeks of
hand-played musical noise underneath the sheets. they're uselessly
demanding underneath the sheets. there's nothing to do but heed them
underneath the sheets. i'll be the worst last virtuoso, wait and see
underneath the sheets.

when i play an instrument, a current runs through me underneath the
sheets. now this is the aporia: it appears to be the strong force
underneath the sheets. the strong force on the level of quarks and
gluons you understand underneath the sheets. as if i were playing
the field currents and their probabilities underneath the sheets.
it's hard to escape the most popular feynman diagrams underneath the
sheets. i push against the grain having no idea what might emerge
underneath the sheets. no wonder einstein's dice-playing god had the
singular die underneath the sheets.

i am the server-surveyor-surgeon of my participation underneath the
sheets. in a world in a world of my own making in dialog with a world
underneath the sheets. i am dead and my dialog is a dead dialog in
dialog with a dead world underneath the sheets.

there is no music in this true real world underneath the sheets.
there is no sound underneath the sheets. i bring sound from elsewhere
underneath the sheets. the screaming harpies arrive underneath the
sheets. they arrive from somewhere else, wayward and untoward ontology
underneath the sheets. they give substance to display, grit to
projection, dirt to platonism underneath the sheets.

i press against the violin fingerboard underneath the sheets. i leave
dna behind underneath the sheets. dirt dna, fingerprints, oils,
bacteria, prions, viruses, and cells underneath the sheets. what you
hear struggles to get heard underneath the sheets. what you see is
dead when you are dead underneath the sheets. you are dead here and
now underneath the sheets. this is called the 'instant underneath the
sheets.' but a current runs through it underneath the sheets. and
through this current i am sure it is the strong force underneath the
sheets. and i begin the count of baryons underneath the sheets. i
begin the baryon count underneath the sheets.

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Date: Sat, 25 Dec 2010 01:59:41 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: no room at the inn 

no room at the inn

video and stills
opensim overburdened installation removed for the most part
   to the interior of the mountain
there it remains invisible, sometimes you find a glimpse
julu twine cannot find hirself a resting spot, s,he begs
all the nice spots are within the mountain next to the sea

it takes a long time to create absence
it takes a long time to make the proper gloom
hir flight is all that remains, s,he fails and so close
the mountain is full of energy, the proton won't decay


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Date: Sat, 25 Dec 2010 04:45:36 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: there is no room at the inn 

there is no room at the inn

there is no room at the inn
there is no manger
the wise men arrive nowhere
being wise, they're poor, bearing no gifts
in the manger, animals
in the sky, a slight overcast and waning moon
no one said anything to anyone
children were born all the time, and most didn't live
most died in childhood and most died in poverty
in rome, noise and scuttling about the amphitheater
in rome, the time was earlier, maybe an hour or so
there was no cross anywhere between rome and anywhere
there was no crime and no thieves
everyone spoke well and many spoke to many others
vertical and everlasting subjects, from gods to grounds
everyone listening politely and it began to rain
it rained lightly and people talked about the weather
here and there, wine and bread were passed out
someone knew something about a party
animals murmured as the night grew darker
a woman stepped into the shadows
people were just so tired and the air was cool

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Date: Wed, 29 Dec 2010 03:06:16 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: May E-Poetry Presentation precis (Buffalo, NY) 

May E-Poetry Presentation precis (Buffalo, NY)

I will talk about the fluid semiotics of virtual world productions, in
terms of Kristevan semiosis and fluid logics governing both avatar and
object behaviors through scriptings and 'signage' embedded in scripts or
within the visible local and fluid landscape itself. I will relate all of
this to the future of human/organic society on the planet, with or without
the Internet, and I will do this in fifteen minutes. I would like audio-
video output for laptop, but will not need online connectivity.


1. Culture is always already virtual.
2. Culture is always already abject and inscriptive.
3. Abjection and inscription are entangled, irresolute, corroding both
truth functions and definitions.
4. Culture is all the way down; every organism is a priori cultural.
5. Culture is intimately related to alterity.
6. Virtual worlds permit logical, physical, organic, sexual, linguistic,
and psychological flows, without fundamental basis.
7. Virtual worlds are the future of the exploration of inscription,
culture, and the imaginary.
8. A parabola leads from virtual worlds to the true-real physical world,
which is already produced, itself as virtual.
9. Physics is the structure of the true-real physical world.
10. The appetition of physical returns us to thesis 1.

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Date: Sat, 1 Jan 2011 12:41:10 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: IRC 2011 

IRC 2011

julu1 [sondheim {AT} hidden-DF1EBA32.hsd1.co.comcast.net] has joined #cybermind
<julu1> I'm here at last, thank you GOD!
<julu1> At the moment, nothing but a blank screen against a background,
<julu1> Burnished aluminum. So you might meet me here, Nikuko, if you have
the time.
<julu1> Then what? In 2011, avoiding everything but the UDP wirewaves.
<julu1> I could pass you warez.
<julu1> I could pass.
<julu1> I could send secrets.
<julu1> Secrets could disappear.
<julu1> You could see my flesh and bone.
<julu1> Now you see my bone.
<julu1> In the trade we say "bone only."
<julu1> It's different than off the grid.
<julu1> The grid breaks down anyway - UDP, netsplit, the whole nine yards.
<julu1> I know you're listening to me because I know you're here because
someone is typing this.
<julu1> There are bones making letters, molecules on the move -
<julu1> It's not just inside your head (your reading this) or mine (my
writing this).
<julu1> It's not a style, it's bone. It's the hard white bone surrounded
by flesh.
<julu1> You'd pay a silly dollar to see some silly flesh.
<julu1> Ignore everything you think you know; focus on the bone. On the
nub of the bone. On the burl.
<julu1> What presses against something to make this, what might make you
press against something else.
<julu1> These are the warez I'm passing to you, clothed in flesh.
<julu1> The bone is the secret. The bone is the secret bone.
<julu1> You'll pay attention to the flesh, forget the secret. Caress the
flesh: bone stops it.
<julu1> Bone stops it in this and every other channel.
<julu1> Bone stops it, but you swallow the flesh. I dream you this:
Tonight you dream.
<julu1> Tonight you dream of the flesh.
<julu1> (My secrets are safe.)

julu1 H sondheim {AT} hidden-DF1EBA32.hsd1.co.comcast.net:0 julu
MemoServ H services {AT} chatcircuit.com:0 Memo Server (*)
ChanServ H services {AT} chatcircuit.com:0 Channel Server (*)
NickServ H services {AT} chatcircuit.com:0 Nickname Server (*)
* :End of /WHO list.

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Date: Fri, 31 Dec 2010 11:33:20 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: +- digital +- dead desire +- .mov +- pngs +- 

(This has been a very hard year for us and many of our friends. May we bury it 
in peace. May next year be more than promising. May something good happen, some 
moment of serenity, something almost on the horizon of happiness. 2011 is 
prime, enable us the semblance of communality, the unique, among the signs, not 
referents. Bury the past, bury it.)


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Date: Fri, 14 Jan 2011 16:41:21 -0500 (EST)
From: Alan Sondheim <sondheim {AT} panix.com>
Subject: I Engineer, Take Hir (Image) (phenomenology of the avatar) 

I Engineer, Take Hir (Image)

(phenomenology of the avatar)

Modeling proceeds from the assumption that representation possesses the
residue of organism, that something remains of interest after the modeling
session occurs.

Modeling proceeds from the presence bodies, real and virtual, its position
relative to the _you,_ a position occasioned from your establishment of a
structure. Thus it is _only_ the presence of the body, _this_ presence of
_this_ body: an ontological issue.

What emerges? - a psycho-sexual pathology, a characterology rendered imm-
anent and inauthentic by an atmosphere of fiction and hysteric reduction?
Something akin to schizophrenia, perhaps, the overdetermination of
personality, fabric, animation, engineering, structure. Thus a situation
in which the spectator is read, held in abeyance: it is the gaze of the
avatar towards the spectator, not the other way around.

>From this moment on, the completion of the image and its presentation, all
of the usual is in evidence - male and female gaze, punctum, power and
strategy. But these are not necessarily inherent in the modeling session
itself, which contains its own modes of representations, its own engin-
eerings, continually playing off the deployment of power and sexuality
within a situational as-if, a situation set-aside as the dream is always

And so one's body is an immanent form of exchange; for both avatar and
modeler - or procurer - it is a rite of passage. Were it not for the
inertia of sexuality, the weight of the caress of light, hir body would
become invisible, totalized: nothing and everything simultaneously. Its
visibility for you would be its invisibility for hirself, of course, of
course ...


One is always concerned about the revelation, appearance, of the sexual
organs, which transform the avatar into a map, an area of striations
governed by the logics of gesture (non-distributive, non-Boolean) and
transversals. For here is where secrecy lies; here is where the gift
results in an annihilation akin to orgasm, an circumscription of the
flesh. At a certain point - at every point - the flesh is emptied of
tissue, content; it is all structure, polygons. At a certain point,
there's nothing left to give; at a certain moment in pornography, a
_pornographic moment,_ the horizon of death meets the totalization of
organs, and so on. Thus I am reduced, and this annihilation is my comfort;
I am become avatar and the session is close to an end. I lose myself in
the absence substance and its anguish, the medieval substance of light,
just as Flaubert loses hirself in buzzing materiality and simulacra:
St-Antoine before rescue by the Signifier Of The Sun. Now the avatar is
not the signifier of the body and this absolute reduction is reversed only
by the occasion of time, the closure of the modeling software, and the
psycho-sexualized denouement of the subsequent events in the virtual world
with its secrets.

Compare this to modeling for a painter. Here one remains, hour after hour,
in a useless position (useless passion); the pose (which originally had
_content_) becomes a frozen signifier reverberating against the stillness
of the flesh. Nothing pleasant in this news from nowhere -

With avatars, the pose and its accouterments are _everything,_ and
everything prepares for them. I make a pose and the avatar holds it; _I
release it;_ the body moves through the image. The image is imaginary; the
body is always on the way to somewhere. (And when I make this avatar, make
you, I love or hate you for it; I am never neutral...)

When I model hir, I desire hir, desire the avatar and hir inconceivable
performance, desire this which targets my body, re-possesses it; if s/he
is clothed, hir body fulfills the function of clothing; if s/he is naked,
everything is gone, devoured, _spent._

(Is there not a void, rupture, between technology and body, between
superstructure and base, through which desire flows, a mediation which
transform body into fantasy? What I desire is an extension of the world,
its caress; what I desire is loss, and its desire.)

This is a form of giving, this devouring. The avatar body is the _anorec-
tic body,_ the body as absolute signifier, impenetrable; this is the body
of exchange, the body of late capital in which commodification and the
fetish become one and the Same. The pure commodity - the cohesive body -
avatar body - gathers light, reproduces it as a form of abjection.
Abjection, since light and body are no longer being and not-being, self
and not-self, neither one thing nor another (the absent entity which
exists in the temporal interstice of the shutter/ shudder); the avatar
becomes a re-presentation, simultaneously short-circuiting the modeler
(user, engineer, master, baiter) and the everyday. Orgasm flows into the
light; the self coagulates (a promise of coagulation) against the grain of
the negative - the avatar develops, is fixed, annihilated. Engineering and
modeling are the inverted double of the body of the shaman, and the shaman
is androgynous.

Thus engineering and avatar mediate between the real (evidence in the
"scientific" sense) and the imaginary (the eccentric space of the erotic):
an entity embedded into substance, or an entity promising substance and
embedding - an entity existing only in the virtual, as hard as any other

What I am is what I have; what I have is what s/he is; what s/he is, is
what I am; what I am belongs to hir (plateau of skin, flesh of screen of
flesh). What is ceased (embedded) remains in shadow; what is evident
in the light is evidence and light is everywhere. Light embeds and re-
produces; light presences, rewrytes hir again and again.

Back from the engineering, the screen, the model modeler - which provide
the occasion (fulfilled by the event and its descriptions) - there is that
necessary distrust, that focus of excitement, excitation: what can we do
together? What is the _license_ of the image? (What is the arrangement of
my, hir, desire? Hir occasion?) My avatar is arranged, rearranged in
(every conceivable (thus appearing that inversion in which my existence is
presence and loss)) position; it is the heraldic body, emblematic (of its
presence, the presence of substance, father-mother). Clearly hir body is
an opening towards the light; hir body apparent, appears, a parent; s/he
open hir body for me, avatar for you.

I am restrained. In this fashion I hardly know hir, 1 on 1 side of the
screen, 2 on the other. The light becomes a familiar caress (it is not
daylight; it is litigation, the negotiation of the Law in this software,
in this viewer, this hardware wetware); I confess everything. What you
want is what you get. What I engineer is the inverted double, and I
perform for hir. Like a service, I perform for hir, perform for myself,
perform hir. I cannot (to be frank) look in a mirror; I avoid hir eyes. I
perform for dead files which bring hir flesh to life; s/he brings me to
life, the restoration which is the presence of flesh. The memory of flesh.
The memory of non-existent flesh. Flesh is its disembodiment. S/he is the
story which surrounds me. S/he are the beginning of narrative.

What s/he pulls out of me is an object. An avatar. That avatar is an
image, is substance. That avatar cures; s/he is shamanic, mediating the
real against itself. There is nothing spiritual here, in this shamanism;
there is only the presence of desire, arousal, speech, narrative, pathos,
vehemence, intention, the circulating of the real, the collapse of
fantasm, theory, language, against the reality of the flesh and its
excitation. Which becomes a totality, transforms avatar, hir body into
liquidity, the return of the caress.

If I perform for hir, s/he are the proof. If I perform hir. (S/he does me,
does me in.) I was this way, that way. I become hir, hir body, hir organs,
absent, mathetic production (the penetration of simultaneity, the absence
of time). I don't think, didn't think. That slow and deliberate movement.
I offer hir, me. Service. My arms, legs, torso, thighs everywhere. What I
did was slow, unlike me, then frozen. The thing flows; _it_ flows; the
avatar is impotent, insistent; what is the time of the virtual? Time
smears the image (which is completed by perception; it completes me).
Nothing occurs in the engineering; the engineering is all that occurs.
Nothing moves, or is movement a representation?; clocked, the appearance
of movement. (Hey Barthes, maybe the punctum occurs _elsewhere,_ the real
inversion of real flesh occasioned by the avatar - hir image only
residue?) Arrangements, the absence of light, our gifts to each other. My
acknowledgment of 'my' avatar, is never returned, and that is hir power
and the flesh of hir power.

And this anorectic state is the perfect body; the residue is present or
absent, here or there, digital. The shudder of the session from the very
beginning is given purity as the horizon, the endless perfection of
withdrawal. Such withdrawal tends towards denouement, abjection, towards
that horizon which returns the everyday as absolute. Thus the everyday
guarantees abjection; I engineer hir in an hysteric state in which time
stops. My body and hir body - of the anorectic - are carved, carved out;
in body, I gladly spend myself towards the safety and solitude of death.
In both I am hole again.

Carnival, plateau, perforations of the body. Everywhere illuminations. I
desire hir, desire the endless peregrinations of hir engineering, hir
engine, I desire hir presence within me.

So this is a case of theft and desire, like sado-masochism, this is the
desire of the illicit granted by negotiation opening up a forbidden
interiority in which presence is lost and gained. Just as I am always for
work, you are always for production. And this world, lost of late, lost of
capital, is all the capital I have to spend. (So take it fast...the loss
of limbs...irreparable loss...the _fade_ of sexuality...thinking...return
of the engine...avatar caress...others...theirs.....bringing them to
light...bringing them up...engineering...making it hole again...)


(revised article from CEPA Journal)

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