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Alan Sondheim <sondheim@panix.com>
old READING.TXT and internet course descriptions (1994-6)
Avatar Absence Erasure Performance [limits of explanation]
Day 3 (last), Columbia College mocap research examples -
meditative (documentation of mocap proces, plus example)
virtuality notes, from avatar.txt and from wryting-l
Dusk Dance Culmination *
do they know each other.
Political Dance of the International
Two REQUESTS:
Open
Re: US politics and wealth (fwd)
new images of human beings
for the nuclear workers @ Fukushima
@ Fukushima (fwd)
PLEASE NOTE: PROBABLY CONTAMINATED SITE
death versus life
Enclaves of Theory and Theology
LISTEN HERE! FORGET EVERYTHING YOU EVER KNEW!
cry out structures and ghosts
Insoluble Cases
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Date: Sat, 29 Jan 2011 11:38:06 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: old READING.TXT and internet course descriptions (1994-6)
READING.TXT
I've been going through old text archives tonight and found the following:
http://www.alansondheim.org/READING.TXT [July 1995] It's somewhat
embarrassing, groping, tawdry, more literal than I'd like, blind-folded,
cauterized, decrepit, awkward, centered somewhat around the event of
Michael Current's death, stylistically poor, owing too much to various NY
schools, gone down the hatch, occasional bursts of something, occasional
John Giornoesque-manque, lurid, murderous story-telling, Ballardic,
oceanic for obscure reasons, despairing, suicidal, neurotic, eurocentric -
in other words check it out. And I forget what READING it was used for -
where the words died in the air, what futility led me to think these
things could be pronounced in an interesting way...
Then there are these two old course descriptions, might be of interest -
for UNIX commands: http://www.alansondheim.org/UNIX [from 1996]
======================================================================
[April 1994]
Alan Sondheim sondheim@newschool.edu
432 Dean Street
Brooklyn, NY, 11217
718-857-3671
NEW COURSE AT THE NEW SCHOOL, NYC:
*BEFORE AND AFTER THE INFORMATION SUPERHIGHWAY*
With public attention drawn to the 'information highway,' camcorders,
multimedia, and a host of other information technologies, it is
apparent that a revolution in communications is underawy. We will
examine this transformation, using postmodernism and contemporary
media theory. In so doing, we will focus on both past and future,
from the history of television and radio to the 'transparent' virtual
reality world of the next millennium.
This course is a must for anyone interested in contemporary modes of
entertainment or communication. Everything from a brief non-technical
overview of the technologies involved, to the actual content of these
modes, will be presented, including the new forms of subjectivity and
personal communications (such as computer bulletin boards) that are
emerging. Issues of space and time in virtual reality will also be
considered.
Topics include digital vs. analog communications, the internet, the
'new information order,' gender and communications, postmodern
geography and telecommunications, computer bulletin boards, camcorder
aesthetics (including issues of privacy, sexuality, oral history, and
personal expression), multi-media at home and business, the emergence
of new `languages' of expression, ELECTRONIC SUBJECTIVITY,and an
overview of recent (1895-the present) communications history.
Reading Materials:
Because of the fast-changing media landscape, texts will be chosen
several weeks before the course. The following list of references
is tentative:
1. Mark Poster, Mode of Information
2. David Harvey, The Condition of Postmodernity
3. Thomas Docherty, ed. Postmodernism: A Reader
4. Geoffrey Reeves, Communications and the 'Third World'
5. Avital Ronell, The Telephone Book: Technology, Schizophrenia,
Electric Speech
6. Alan Sondheim, ed. Future Culture issue, Art Papers, (available
as texts before 1995 publication)
7. Alan Sondheim, Internet Text in Perforations 7
8. Donna Haraway, Simians, Cyborgs, and Women
9. Downloaded texts from the Internet, including Jack Frost on
cyberpoetics, and (with permission), material from
Postmodern Culture magazine.
10. Magazines include: Mondo 2000, Wired, Perforations, and
Boardwatch and other computer magazines.
======================================================================
[February 1996]
Internet and the Information Superhighway, FVA
Six Sessions: Alan Sondheim, 718-857-3671, sondheim@panix.com
Please note: No previous experience required!
First week: Introduction to the Information Superhighway. The Internet:
Email and email lists, Usenet. The nature of discussions. On-line issues.
Censorship, business, and art issues. Getting set up, access. Practice.
Difference between analog and digital. Introduction to the digital world.
Demographics of the Net. Present and future. Commcercialization and the
World Wide Web.
Second week: The Internet: FTP, Gopher, Telnet, Finger, and beginning
with the World Wide Web. Different sites available. The materials
available on-line. Please bring a 3.5" disk if you have one. Going over
the file information. Getting materials on-line.
Third week: Continuing with World Wide Web, various search engines
(World Wide Web Worm, Archie, Veronica, Wais). Images and image-coding/
decoding. Mosaic, Netscape, etc. Future of sound/moving images on the
Net. Mbone and other advanced technologies, ATM. New search engines:
Inktomi, IAF, Altavista.
Fourth week: Electronic Conferencing. Various systems such as Caucus.
Artnet and the thing. Different forms of bulletin-boards, Fido-
net, other alternatives. Talk, ytalk, IRC, chats, MUDs, MOOs, and so
forth. Demonstrations. ThePalace. Possible trip to my setup in Brooklyn.
Fifth week: Social and political implications of cyberspace. Issues of
virtual reality, sexuality, virtual subjectivity. Future multi-media.
Possible trip to cybercafe around the corner. Iphone, CuSeeMe, Vdol,
Xingstream, etc.
Sixth week: Review of material. Internet practice, current demographics
and statistics. Arts, literature, and sciences on the Net.
Be prepared to take extensive notes. It would helpful for you to be as
familiar with your own computer system as possible.
Some books of interest: Sherry Turkle, Life on the Screen; William
Mitchell, City of Bits; Steven Levy, Hackers; Wired magazine; Michael
Benedikt, Cyberspace: First Steps; Internet Secrets; Howard Rheingold,
The Wired Community; Peter Salus, Casting the Net.
======================================================================
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Date: Mon, 7 Feb 2011 02:16:04 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Avatar Absence Erasure Performance [limits of explanation]
------------------------------------------------------------------------
Avatar Absence Erasure Performance
------------------------------------------------------------------------
http://www.alansondheim.org/netineti.mp4
http://www.alansondheim.org/netineti1.png
http://www.alansondheim.org/netineti2.png
http://www.alansondheim.org/netineti3.png
http://www.alansondheim.org/netineti4.png
http://www.alansondheim.org/netineti2.mp4
------------------------------------------------------------------------
thus at the limits of explanation,
the _draw distance_ is beyond the avatar, stutters, operates within range,
stumbles, moves, redefines position, filters objects in the whole wide
world, strobes backgrounds, flashes objects, drains seas, cauterizes
skins, retrieves supplements, performs in the absence of performances,
dancing the virtual. the inherent plasticity of virtual worlds, sheaves
cutting through psychologically apparent phenomena, is evident in deep
phenomenological illegibility. the sense of logos, encoded, recuperable,
aristotelian or quantum, is fundamentally shattered. what might have been
considered primordial turns on confusion. ultimately nothing gets through
the ground which may be abandoned. what occurs is a form of shepherding or
collusion of affect; it's just those ways. beyond all of this, one would
need access to the database itself, as if decoding were possible, and as
if that possibility turned further into a clarity of mind.
------------------------------------------------------------------------
the texture-object: INVISIBILITY PRIM PUBLIC v1.1a by Beatfox Xevious:
"SL has a few special system textures that are only accessible by UUID key
and that possess properties which no other textures do. Namely, a prim
using one of these textures is capable of rendering whatever avatar
textures and textures containing alpha channels are inside or behind it
completely invisible. Normal textures that do not contain alpha channels
will remain untouched."
------------------------------------------------------------------------
the overheard dialog:
[09:34 PM] FalIen Fallen has entered chat range (2.8m)
[09:34 PM] Bryce Markova has entered chat range (3.9m)
[09:34 PM] Bryce Markova: AAAAAAAH
[09:35 PM] FalIen Fallen: kanichiwa
[09:35 PM] Bryce Markova: HE IS A DONUT
[09:35 PM] FalIen Fallen: HAHAHAHA
[09:35 PM] FalIen Fallen: A DONUT
[09:35 PM] Bryce Markova: hes afk
------------------------------------------------------------------------
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Date: Thu, 17 Feb 2011 02:30:15 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Day 3 (last), Columbia College mocap research examples -
Day 3 (last), Columbia College mocap research examples -
http://www.alansondheim.org/edge6.mp4
http://www.alansondheim.org/harness.mp4
http://www.alansondheim.org/322harness.mp4
1st, 1 dancer working the edge drawn into poser triplets
2nd and 3rd, 2 flight harness dancers, 1 ground (head, root) dancer
2nd drawn with poser singlet, third drawn with poser triplet
notes from the accompanying talk
My avatar behavior is governed by animation files originating with mocap
equipment. Almost all professional current mocap uses nodes - information
coming in from specific body areas, assigned body areas, and so forth. I
remap the mocap body, by distributing nodes among several human bodies; by
collapsing nodes, by node reassignment on a geometric or random basis, by
'heaping' nodes and so forth.
I see 'the body' as:
a. An already inscribed, already virtual body.
b. A distributed or social body: Who speaks 'within' 'us' and who answers
for us, etc. My avatars are social, their movements produced by groups
instead of individuals: up to four performers for one animation file, one
animation file expanded into multiple conforming avatars.
c. A dying body: Our bodies are always on the way out and our work, if it
doesn't revolve around love, sexual arousal, and hatred, is bounded by,
revolves within, the horizon of death and despair.
d. An absent body (Drew Leder); we rarely track everything. It is the
privilege of the camera in Second Life to reveal the avatar as simultan-
eous object and subject, confined and open, teetering.
e. A present body and an abject body - in and out of virtual worlds.
(political bodies, in the face of mass extinctions, social degradation)
I'm interested in errors, leaks, and resistance, and in the recuperation/
re-presentation of flesh. My work always begins and ends with the flesh,
with the flesh-mind, with embodied mind. (Among other tools, exploring the
limits of mocap.)
NEW WORK 3RD DAY:
1 RANDOM NODE ASSIGNMENT AMONG 2-3 DANCERS (FAILED, MAPPING IMPOSSIBLE)
2 TELEOLOGICAL BEHAVIOR: DANCERS 'TAKING' AVATAR THRU SPECIFIC TASKS
3 FLIGHT AVATAR W/ VIDEO CAMERA
4 FLIGHT AVATAR: TORSION IN RELATION TO GROUND AVATAR
5 FLIGHT AVATAR: LEG/ARM REASSIGNMENT WITH TWIST
Thanks to: Patrick, Andrew, Steven, Morgan, Myah, Lianne, Katie, Deborah,
Jeff, Brian, Terence.
Final result: 90 bvh, 50 approx. .avi rendered, 300 stills, 2 hrs. video
(including flight video).
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Date: Tue, 22 Feb 2011 02:53:45 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: meditative (documentation of mocap proces, plus example)
meditative
http://www.alansondheim.org/4p_7.mp4 four controlling one, one day
meditative, the slightest, then some
http://www.alansondheim.org/chicagohd_06.mp4 - documentation of process
mocap and flight harness control, brian wright
dancers, morgan dixon, katie graves, deborah byczkowski
video with unprocessed errors, alan sondheim
the earth is so fragile, as our lives, so these momentary interventions,
all that remains imminent, perhaps less, unresonant, so i keep on them,
so of interest in a future that will fail, as ours, encrusting, askew,
telling them true and slant, the slightest ocean, pool, unbeginning and
henceforth, unbegun
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Date: Wed, 23 Feb 2011 19:28:50 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: virtuality notes, from avatar.txt and from wryting-l
virtuality notes, from avatar.txt and from wryting-l
beautiful code: http://www.alansondheim.org/frissonn.mp4 (mocap mod)
(from avatar.txt)
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... [ ]
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._ [ ]
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
tissue.
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. [ ]
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. [ ]
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.
(from a question by Lawrence Upton on wryting-l)
I think of inscription itself as virtual; the body is interpenetrated by
(and penetrates) systems of signs and symbols not always coherent. A sign
is virtual to the extent that it represents, even if it's ikonic, repre-
senting itself. It (the sign) participates in abstraction, taking the body
with it, just as the body physicalizes the sign. I think of tattoos for
example as such representations - they're deliberately added. But there
are things like scars, pockmarks, shaving patterns (or not), bruises,
makeup, etc., all of which entertain the body within readings, within
virtual worlds - for example scars referencing a history which is partly
readable, partly deducible, partly absent. On the other hand, the body is
fundamentally flesh and tissue, _there,_ and the body in pain or severe
sickness or near death is 'beyond' representation; I think Elaine Scarry
touched on these points - just as hysterical laughter or crying becomes a
'beyond' of the events that may have produced it. Virtuality isn't on a
rocker switch; it's present like a Noh ghost or haunting, and it's part of
the uncanny of the body. Watching the motion capture figures is a watching
of inhabitations which are also lost or gone, or evanescent - there is the
implication of multitudes in each of the bodies / avatars, yet only one
connected form is actually visible. The body isn't a product, but it's not
just a background either. I think one designs the body to a great degree -
costuming, makeup, general appearance, but this is outward; a scar on the
other hand most often is a mute testimony of something, perhaps serious
and painful, that has gone (on) before. I think on the other hand, the
general tendency is to make a separate between 'real' and 'virtual' bodies
or avatars, and to talk about the designing of the latter. But the latter
- even the Second Life virtual world avatars - also participate in the
abject, in 'leakages,' that reference the arousals, histories, love, and
hatreds of the 'real' fleshly body; avatars appear self-contained, but but
they're hardly that (I think this kind of tethering between a body and
'hir' avatar in fact is uncanny, irreducible, a form of impulse or
intentionality - something a while ago I called 'jectivity' to cover both
introjection and projection.)
So I think these mocap avatars or figures are 'about' all of this, all
this intermixing of ontologies, bodies, representations, etc. - they're
also carrying a kind of 'social' into the body. It was interesting working
with the dancers and watching them operate together or independently, but
within the aegis of the group, almost like a musical quartet; to produce a
_particular_ movement in the avatar image, the dancers had to move, for
example, in particular ways. On the other hand, when the dancers
improvised independently or without regard of the (singular image), new
and innovative movements appeared in the avatar as it responded, in dialog
with the hardware and software, to often contradictory requests in the
placement of limbs and movements. It reminds me of the old "Three Faces
of Eve" concept of schizophrenia - or the multiple intelligences theory of
the mind - and what ultimately appears in spite of Minsky, Lacan, and a
number of more recent thinkers, is still a form of unity - one avatar
twisting, one being, ultimately the fiction of one sign, the collectivity
of what we still think of as the individual or "I".
==========================================================================
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Date: Thu, 24 Feb 2011 10:39:17 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Dusk Dance Culmination *
Dusk Dance Culmination *
these are all generated from the same mocap session - i forget the
particular scheme. the bvh file is available, as is the soundtrack.
there are two videos - one from poser and one from second life, in a
full environment. i feel my life is entering dusk, the dance faltering,
the world uncomfortably warm, dark, dangerous. stress pushes me to do
these things, but beauty holds me as an afterthought. among the
virtual worlds in multiverses, my creatures live without me.
http://www.alansondheim.org/duskdance.mp4 (beautiful poser rendition of
second life with solo oud score)
http://www.alansondheim.org/duskdance.mp3 (solo oud piece, duskdance)
http://www.alansondheim.org/duskdanceb.mp4 (beautiful rendition in second
life of duskdance with julu twine avatar at columbia i am sim)
http://www.alansondheim.org/duskdance.bvh (you can use this in virtual
worlds as an animation, created at columbia iam mocap studio with several
dancers inhabiting a single avatar through distributed and affine
remapping)
* these four files together constitute a single moment; please watch
these, whether you've seen the others. these are a culmination of the
mocap work, maybe opening new territories in animation and distributed
performance. anyway they're fun to watch.
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Date: Mon, 28 Feb 2011 19:45:32 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: do they know each other.
do they know each other.
http://www.alansondheim.org/dupdup2.mp4 (2(2) bodies, sound)
http://www.alansondheim.org/dupdup1.mp4 (2(1) bodies, silent)
"between the two of us, we do not know each other's taste and smell,
yet we're all read and know each other's bodies well.
to know each other, we had to know each other's bodies; to love and tell,
we got to know each other's fluids well, we got that old besotted smell."
doubled walks / spins / avatar interactions.
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Date: Fri, 4 Mar 2011 01:45:08 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Political Dance of the International
Political Dance of the International
http://www.alansondheim.org/international.mp4 the world politics of the
world, manifestos and political economy, liberations and revolutions,
symbolic collapses and the french revolution, lying reagan's claim for
soviet collapse, obama's unheeding calls, unlistening, government's
violence smashing unions, tax-breaks for the rich, illness and hunger and
starvation here and now, wisconsin governor sucking kkkadafi dick, twenty
billion for wall-street, they will kill us all, fuel our anger, civility
is for those who can afford it, all these words, virtual collapse in
virtual worlds, where are anyone, we're at the eighth or ninth
international, the rich should die, they're killing us and not with
kindness, let them burn in the misery of thirst and starvation, let them
drown in sickness, let them eat their own shit before they make us beg for
it, violated them, destroyed their lives, let them cut their own throats
an act of kindness, send them to the front lines of any war of their
choosing, embed them in enemy reportage, stuff them with their empty
words, our empty words, fill their dried fat bellies with dead avatars >
this is a meal for the world, let us all eat flesh
http://www.alansondheim.org/international.mp4
thanks to Second Life, Fau, i am responsible for this
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Date: Sun, 6 Mar 2011 02:43:56 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Two REQUESTS:
Two REQUESTS:
1. Please download EVERYTHING from
http://www.alansondheim.org/ and
http://espdisk.com/alansondheim/
Who knows how long these sites will be up? A dying star, war-time
em-burst, nuclear terrorism, very little: and THE WORK disappears.
Such work as remains virtual debris or residue: it has NO OTHER
existence than what you can give it, yourself, among your storage
machines, your data-bases, your memories CONCRETE.
2. Please enact EVERYTHING visible or audible, everything legible,
within the hardness of MARBLE or GRANITE, guarantee them at the
least, a modicum of existence beyond my lifespan (as my health
again turns HARSH). It is my DREAM to have this work, these
avatars, TRANSFORMED into CONCRETE EXISTENCE, forms of STATUARY,
proclaiming, that these were POTENTIALS at a certain stage of our
existence, these were THINGS in the worlds of imaginations.
DOWNLOAD and SAVE, DOWNLOAD and HARDEN, RE-PRODUCE: so much to
ask, so great and small the results.
SAVE ME!
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Date: Sun, 6 Mar 2011 11:40:32 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Open
Open
There are 500 million worlds in our galaxy, a great number of which might
support life. Or 500 billion - this changes daily - as such, at least
seventy planets for each of us on earth: inconceivable. Life-forms seem to
have been found within a meteorite, some local and identifiable, and
others alien to the core. Multiverses range from 10^500 to an infinite
number of universes, depending on the theory; in some of these, we're
reproduced more or less exactly - in others, there's no relationship - in
almost all, no ingress or egress; we're alone but fantastically duplica-
ted. Ontology disappears, as does epistemology; knowledge and its constit-
uents devolve in entirely unforeseen ways. Singularities are more of our
myths; what is happening is slow erosion, as if eternity is just around
the corner - but corners themselves are duplicated, and there is no more
of the same, just as sameness itself appears as 10^500, an impossible
degree. The point of all of this - the x-dimensional space-time of all of
this - is only that knowledge has collapsed in its own deconstruction;
given the problematic of proof, at least in this era, there's no reassem-
blage on the other side of the brane or horizon. It's hard to configure
art or ideology - any set or fieldings of human cultural values, given
this landscape; new discoveries from one day to another bypass momentary
blockages which are temporarily assembled as theory beyond heuristics -
Badiou's mathematics comes to mind, Lacan, continental thought, philosophy
itself, just about any scoring or underscoring one might make of a day or
night when knowledge seems certain, always on the verge of trembling or
text. I try to situate my work in relation to all of these, discarding
myth, religion, even geometries and the truth of the image - any image -
any imaginary - along the way. Buddhism stumbles on reincarnation for me,
and the paradoxes of the void dissipate in the sizzle of virtual produc-
tion. One writes always already suspended, from what and from where, or
what form of connectivities - these are not only the wrong questions to
ask, they're questions that are deeply meaningless, as is the preposi-
tional aegis constructed in and out of localized geometries: above, below,
within, without, before, after, and so forth. The suspension is from
nothing. There is a degree of production one attempts to do, with all this
knowledge, anti-knowledge. Even here, I am ignoring mass extinctions, the
damage humans have done to the planet, local political corruptions, the
nadir of what appears, from our positions on the bent plane, as universal
slaughter. Everything can disappear in an instant: 9/11, Katrina,
Christchurch, Tibet, are names hinting at a damaged symbolic. It's this:
as time goes on, (phenomenologically) speeds up, nothing is recoverable;
we're already gone before we've arrived: we're ghosts occasioned by our
own exponentially-increasing knowledge which is already out of date. We
can't catch up with ourselves, as ghosts; phantasms fly faster than flesh,
which drags us down to death, to a stop of all of this. But until then,
what? That these universes carry us elsewhere, that we become invaders of
our very selves, marauders of what we've taken for granted? I try to work
through this storm, this permanent monsoon encompassing all realities, all
virtualities, no matter how invisible. And we're all, all of us and our
selves, in the same positionless.
=========================================================================
note 1 - not acceleration, but derivatives > 2nd degree;
note 2 - not virtual or real, inscriptive or abject: neti neti,
neither this or that, thrown outward, neither sein or dasein,
all sets are open
=========================================================================
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Date: Thu, 10 Mar 2011 21:39:11 -0500 (EST)
From: Alan Sondheim <sondheim@panix.com>
Subject: Re: US politics and wealth (fwd)
Thanks, Jon
---------- Forwarded message ----------
date: Thu, 10 Mar 2011 21:03:04
from: Jonathan Marshall <Jonathan.Marshall@UTS.EDU.AU>
to: CYBERMIND@listserv.wvu.edu
from:
http://www.alternet.org/economy/149918/9_pictures_that_expose_this_country%27s_obscene_division_of_wealth?page=entire
[edited]
courtesy Fred Maus via Facebook
Some Wall Street types (and others) make over a billion dollars a year ? each
year. How much is a billion dollars? How can you visualize an amount of money
so high? Here is one way to think about it: The median household income in the
US is around $29,000, meaning half of us make less and half make more. If you
make $29,000 a year, and don?t spend a single penny of it, it will take you
34,482 years to save a billion dollars....
Some things you could buy if really wealthy:
1) the Maybach car the Landaulet model, costs $1 million. (Rush Limbaugh, who
has 5 homes in Palm Beach, drives a cheaper Maybach 57 S -- but makes up for it
by owning 6 of them.). Your $1 billion will buy you a thousand Maybach
Landaulets
2) Some hotels charge $20-30,000 per night. A billion dollars will buy you a
$20,000 room every night for 137 years
3) Some people spend as much as $200 million or more on a single yacht. You can
buy ten $100 million yachts with a billion dollars
4) There are approximately 15,000 private jets registered in the US according
to NBAA. You can pick one up for around $40 million, maybe $60 million for
top-of-the-line. Your billion will buy you 25 of these.
[etc]
So you say to yourself, "I want me some of that. I?d like to place the
following order, please.":
One Maybach Landaulet for $1 million to drive around in.
One $100 million yacht for when I want to get seasick.
One Gulfstream G550 private jet for $40 million.
One private island for $24.5 million (castle included) for when I want to
escape the masses.
One $8 million estate for when I have to go ashore and mingle with the masses
(but not too close.)
One $5 million watch so I can have one.
Total: $178.5 million.
My change after paying with a billion-dollar bill is a meager $821.5 million. I
can still stay in a $20,000 hotel room every night for 112 and 1/2 years.
As you see, $1 billion is more than enough to really live it up. Some people
today are amassing multiples of billions
And the concentration of income and wealth is increasing. The top 1% took in
23.5% of all of the country?s income in 2007. In 1979 they only took in 8.9%.
Between 1979 and 2008, the top 5% of American families saw their real incomes
increase 73%, according to Census data. Over the same period, the lowest-income
fifth (20% of us) saw a decrease in real income of 4.1%. The rest were just
stagnant or saw very little increase.
http://extremeinequality.org/?page_id=8
Wealth can be inherited and accumulates over the years.... The top 1% owns more
than 90% of us combined. In 2007, the latest year for which figures are
available from the Federal Reserve Board, the richest 1% of U.S. households
owned 33.8% of the nation?s private wealth. That?s more than the combined
wealth of the bottom 90 percent.
The combined net worth of the Forbes 400 wealthiest Americans in 2007 was $1.5
trillion. The combined net worth of the poorest 50% of American households
(about 150 million people) was $1.6 trillion
The top 1% also own 50.9% of all stocks, bonds, and mutual fund assets. The top
10% own 90.3%.
Income inequality is actually greater in the United States than it is in Egypt
- and this does affect politics. It makes legislation which favours the
wealthy and increases inequality, but it also protects the wealthy form the
consequences of their profit.
The Koch brothers are said to have a net worth of $21.5 billion each. They
financed the Tea Party movement and, along with big corporations and other
billionaires, they financed the massive assault of TV ads in the midterm
elections that helped change the makeup of the Congress. And now Congress is
paying them back:
Nine of the 12 new Republicans on the panel signed a pledge distributed by a
Koch-founded advocacy group ? Americans for Prosperity ? to oppose the Obama
administration's proposal to regulate greenhouse gases. Of the six GOP freshman
lawmakers on the panel, five benefited from the group's separate advertising
and grassroots activity during the 2010 campaign.
Republicans on the committee have launched an agenda of the sort long backed by
the Koch brothers. A top early goal: restricting the reach of the Environmental
Protection Agency, which oversees the Kochs' core energy businesses.
see also:
http://toomuchonline.org/
http://www.cbpp.org/research/index.cfm?fa=topic&id=36
http://www.cepr.net/index.php/component/option,com_issues/Itemid,22/issue,18/lang,en/task,view_issue/
UTS CRICOS Provider Code: 00099F
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Date: Tue, 15 Mar 2011 17:21:31 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: new images of human beings
new images of human beings
these came from transformed/dispersed motion capture sessions
at columbia college, chicago. the video / images are in honor
of japanese and haitian earthquake survivors. the body images
are related to mayan glypha and ball-court records. please
have a look.
http://www.alansondheim.org/glyph.mov looped
http://www.alansondheim.org/newglyph.mp4
http://www.alansondheim.org/newnewglyph.mov looped
http://www.alansondheim.org/glyph01.jpg jpg images
http://www.alansondheim.org/glyph02.jpg
http://www.alansondheim.org/glyph03.jpg
http://www.alansondheim.org/glyph04.jpg
http://www.alansondheim.org/glyph05.jpg
http://www.alansondheim.org/glyph06.jpg
http://www.alansondheim.org/glyph07.jpg
http://www.alansondheim.org/glyph08.jpg
http://www.alansondheim.org/glyph09.jpg
http://www.alansondheim.org/glyph10.jpg
http://www.alansondheim.org/glyph11.jpg
http://www.alansondheim.org/glyph12.jpg
http://www.alansondheim.org/glyph13.jpg
http://www.alansondheim.org/glyph14.jpg
http://www.alansondheim.org/glyph323b1.bvh animation files for SL
http://www.alansondheim.org/glyph323b2.bvh and other applications
http://www.alansondheim.org/glyph323b3.bvh - from the above
http://www.alansondheim.org/glyph323b4.bvh
http://www.alansondheim.org/glyph323b5.bvh
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Date: Wed, 16 Mar 2011 03:12:43 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: for the nuclear workers @ Fukushima
for the nuclear workers @ Fukushima
http://www.alansondheim.org/reaktor.mp4
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Date: Thu, 17 Mar 2011 03:35:36 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: @ Fukushima (fwd)
@ Fukushima
The waves were dead; the tides were in their grave,
The moon their mistress had expired before;
The winds were wither'd in the stagnant air,
And the clouds perish'd; darkness had no need
Of aid from them--she was the universe.
(Byron)
http://www.alansondheim.org/reaktor2.mp4
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Date: Tue, 5 Apr 2011 21:33:43 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: PLEASE NOTE: PROBABLY CONTAMINATED SITE
PLEASE NOTE: PROBABLY CONTAMINATED SITE
DO NOT OPEN THE FOLLOWING URL: http://sondheim.rupamsunyata.org/
which is my mail archive site, set up several years ago; at this point, it
contains malware of some sort that can lead to real problems with Windows; it
even attempted downloads in Linux. I'm trying to get the site fixed (I don't
run it myself, and didn't set it up), but haven't been successful. Please do
not go to the URL until the problem is (hopefully) taken care of. I've been
trying to get in touch with Decklin Foster, but so far I'm not successful; if
you know him, please inform him about the problem.
(Update: I just downloaded - whatever it is - and it seemed to contain all my
email at the site? Something is amiss - I'm just not sure what it is.)
Thanks, and apologies. - Alan
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Date: Sat, 9 Apr 2011 09:29:25 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: death versus life
death versus life
3429 34916 203264 zz death
2891 31207 185626 yy life
1 ls
2 grep -h death texts/??.txt > zz
3 wc zz
4 grep -h life texts/??.txt > yy
5 wc yy
6 wc zz > ww
7 wc yy >> ww
2626 28103 164466 zz death collapsed a bit
2620 28763 170582 yy life collapsed a bit
1 ls
2 grep -h death texts/??.txt > zz
3 wc zz
4 grep -h life texts/??.txt > yy
5 wc yy
6 wc zz > ww
7 wc yy >> ww
8 h >> ww
9 sort zz > aa
10 uniq aa > zz
11 wc zz
12 sort yy > bb
13 uniq bb > yy
14 wc yy
15 wc zz >> ww
16 wc yy >> ww
almost as much sex and life as sex and death
sex and death -
catatonia, defuge, death/immobility, sexuality, speech/murmured/
thematics bearing on such issues as death, sex, virtual embodiment,
thematics bearing on such issues as death, sex, virtual embodiment,
'death)731: artist sex artist murders stab torture sex lesbian discipline
The long-waves are fuzzy thematics bearing on such issues as death, sex,
WILL NOT BE DEPRESSED! (promise broken :-( Fear of death mingled w/sex.
We collude between death and sex, to the limits of distortion - space-time
against, for same-sex marriage; Federal death penalty sought Gay Men in
all letters sing only of sex and death.
death, violence, sexuality, language, and body re-emerge as dissipated
death, violence, sexuality, language, and body re-emerge as dissipated
dying sex and death
dying sex and death
for-granted breaks down in obscenity, death, torture, sexuality, tantra,
for-granted breaks down in obscenity, death, torture, sexuality, tantra,
http//www.infinitecat.com/] ( Sierra Club Hostile Takeo sex death tt March
innumerable sex and death
innumerable sex and death
innumerable sex and death
innumerable sex and death
it is love and sex, it is death and hard bushido
it is love and sex, it is death and hard bushido
it is love and sex, it is death and hard bushido
it is love and sex, it is death and hard marl
it is love and sex, it is death and hard marl
it is love and sex, it is death and hard marl
legs (sex) and bodies (deaths). I'd say we'd have to walk around carefully
meanwhile. 'The male likes death - it excites him sexually,
obscenity, death, torture, sexuality, tantra, etc.
primarily into the seepage of our own liquidities, bodies, sexes, deaths,
saturation. the dead-sex link with death and pain. the dead linkage. want
sex and death
sex and death
sex and longing, death above all else.
sexuality, but death upon hir. It must be seen that the entire avatar is
solely by our impending deaths or does sexuality play a part? if males
solely by our impending deaths or does sexuality play a part? if males
the saturation. the dead-sex link with death and pain.
Net sex is empowering, leading to realignments of real-life
Is it because of your sex life that you say jennifer cries stop it?
against her ... ... This is real life, Nikuko. My sex life is yours,
< conversation sexing friendships libraries in real life there are
> conversation sexing friendships libraries in real life there are
Comments posted on "avatar nude sex second life performance"
Embrace me. Give me your clothing, your sex, your life. In the dust of the
How many of you have done things in Net sex you wouldn't do in real life?
How many of you have done things in Net sex you wouldn't do in real life?
Is it because of your sex life that you are going through all this?
Is it because of your sex life that you are going through all this?
Is it because of your sex life that you say in the industrial workers
Is it because of your sex life that you say stop guessing?
Perhaps this has something to do with your sex life?
Possibly and now I adjust my frock your sex life are related to this.
Speaker says, "carry sexuality beyond what happens in Alan's real life
Speaker says, "carry sexuality beyond what happens in Alan's real life
Speaker says, "carry sexuality beyond what happens in Alan's real life .."
Speaker says, "carry sexuality beyond what happens in Alan's real life .."
Speech is always raw, moist from the vocal cords. My sex life is con-
Why don't you tell me more about your sex life...
Why dont you tell me more about your sex life...
abjections, untoward and extreme sexualities, pushing art and life to
afterlife; absence characterizes existence, stains it; i try through sexu-
as an ambiguous atmosphere, sexuality is co-extensive with life. In other
comment on avatar nude sex second life performance: "this the the most
describe your sex life and body...
dimension to your sex life. subject: FREE ALL NATURAL SEXUAL STIMULANT
expose yourself about your sex life and body... Discuss your feelings
fucks life.Are afraid sex?
girl this. to fucks this life.your Are sex? afraid you sex? of falls this
ko. I have no fantasies, Nikuko. This is real life, Nikuko. My sex life is
moment ^^^ :> is amplified and clarified in sex voyeur life.that way of
one being close-at-hand. It's too much like real life, real sex; it can
opportunity to see how AZURENIKUKO can change your sex life, and she's
or I'll give you the best sex of your life, don't you see
quite often this so-called 'new sex life' of young people -- and fre-
sexual history, and even shamanic trauma, the lifeworld of the computer
song. enemy titillates us with brilliance and amazing sleazy sex-life.
this is so? Possibly and guess - I show you my flesh - your sex life are
time. My sex life? I masturbated all the time thinking about you. I mas-
trolled by Alan. Alan is controlled by my sex life. I am afraid of noth-
was the best sex trip of my life. It told me to stop, but then I explained
window, and i, on sex voyeur-life, sex ^^^ :> are inseparable.i think this
work which was his life. He spoke on a panel on sex, theory and practice,
your sex life and body...
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Date: Sun, 10 Apr 2011 13:55:48 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: Enclaves of Theory and Theology
Enclaves of Theory and Theology
===================================================================
You may lie on my first, by the side of a stream,
And my second compose to the Nymph you adore
But if when you've none of my whole, her esteem
And affection diminish, think of her no more
Jane. [Austen]
(Charade - answer, a banknote.)
[ But a different answer, away from capital, may be given altogether,
"whole" replaced by the homonym "hole," "lie" curled in meaning, and
"first" taken elsewhere; this is the application of local theory,
an _ontology_ of capital replaced by the body, the body ultimately
inaccessible. And then, what happens to capital? ]
===================================================================
Abstract: My bad theory: If anything is basic it's lack. We scramble to
suture the rest. We can't. We think we do.
===================================================================
I pay no attention to theology; inerrancy or core belief is already dead
in relation to its imperviousness. Think of god or spirit as token; as
ulterior, in-evident, there is little to say about them, except of course
for what might be enacted in their name.
Theory is no longer at an impasse; theory - in the sense, in any sense, of
speaking the world, is already lost. It's lost in technology, in the
concrete, which it misplaces and misinterprets - how can one speak of
codework without understanding code, speak of epistemology without access
to, and understanding of, the very machines that extend, at least for the
privileged, the real - whose very definition is characterized by
withdrawal? The entanglement of theoretical subject and object is best
served by quantum mechanics from below, now approaching the level of
ordinary visibility.
This is occasioned by recent readings into theory, where it is clear that
the authors were circumlocuting a field they had little knowledge of - in
this case, codework - but it's also occasioned by an increasing dissatis-
faction with theory's applications beyond the social in general. It's too
easy to slip from augmented reality or virtual worlds or virtual reality
itself, to ontologies or epistemologies, with the receding dream of the
fundamental guiding one astray. There are several levels involved, all
crumbling, all entangled - the physical-real, the mathematics of the world
(however world and mathesis are defined), the current technologies of the
world (ditto), access to these technologies, theory and its techne - and
melding or interoperability among all of these. It's theory that
disappears in the mix - or the rest of us; increasingly, to understand the
world has come to mean to understand technical vocabularies on all levels
- from conceptual/theoretical astuteness to access to tools, which depends
on the grace of institutions and individuals. In my own case, Patrick
Lichty and Sandy Baldwin directed me towards mocap at their institutions;
Frances van Scoy extended the invitation to 3-d scanners; Mark Skwarek
guided me through the beginnings of mocap, and so forth. I walk in and out
of labs with residencies that range (once) from half a year to (most
often) 2-3 days. I walk into institutions, into institutional cultures; in
this regard I'm luckier than most. But the access remains highly limited,
and what's more important here, the resulting phenomenology is always
bracketed. I suspect this is the case for most people; it's a matter of
degree. All I can do - all _anyone_ can do - is write from the outside,
from the external (within or without a phenomenology of externality), but,
by grace of these invitations, I have learned, at the least, my limits.
Theory on the other hand proceeds without limits; its contemporary
over-reliance on the body, abjection, sexuality, and other issues is to
some extent a withdrawal to a fictional core that remains inviolate: begin
and end with the body of the theorist, and the details of codework for
example will either be bypassed, introjected, or seen as irrelevant. None
of this would matter, if theory didn't carry the weight it does; we've all
read descriptions of our own work as if they're written in a foreign
language, indecipherable with occasional partial legibilities that seem
inherently wrong. Media (in the sense of writing-about, placing that
writing, receiving and remediating that writing) does that to one, and
there's little recourse at the other end. (On the other hand, our own
descriptions, as cultural workers, often chart out vast philosophical
terrain, as if materiality - and the bridging between abstract theory and
materiality - made a difference. I'm guilty of that! In this enclaved
essay I'm guilty of that!)
When I give a talk now, I try to begin with issues of "the fragility of
good things" (from catastrophe theory), extinctions, global slaughter
coupled with populations exponentially increasing - and enclaving, a
concept borrowed from Mike Davis, emphasizing the secure and violent walls
placed around the wealthy, around global institutions and bodies, around
governance in general. Theory itself is enclaved in this regard - as is
the epistemology/ontology of the real (at variance with theory), dependent
on Fermilab, the LHC, AR, holographic VR, etc. etc. - pick your level,
your machine, your theorist. The levels aren't interoperable, nor are they
well-defined. The result is brilliant production, with either micro-man-
aged phenomenology, or phenomenology left in the dust. (Brian Greene's The
Hidden Reality figures here for example.)
It's characteristic of this short essay, that _I don't know what I'm
talking about, nor can I_ - which is why the weaker the theory, the more
functional. I keep thinking of the usual question, for example - Why is
there something rather than nothing - and coming up with the exhaustive
positioning of physical bootstrapping, the universe bringing itself,
continuously, into existence, so that the Why - which implies both origins
and causality - if it doesn't fade away, at least is in need of a coronary
bypass. The solidity or projection of real or virtual objects stands
ultimately in relation to physical theory; if holography plays a role in
our appearing, how many codings occur to construct a virtual world?
The bottom line, not the fundamental one, is the failure of regimes - of
technology, theory, coding, phenomenology, physical and somatic realities
- to interconnect, in combination with apparent flows of power among them.
This power is split and sutured by human claims among humans that don't
quite interconnect. I'm not talking about the old notion of two cultures,
but about fragmentation everywhere, suturing within micro-domains (code,
technology, augmented and diminished realities, theory, daily life). This
is hard to grasp, when even this description falls apart, is rifted; how
could it be otherwise? I'm not talking about the old notion of master
narratives, but about a collocation of narratives, topologically-distinct
but fuzzy and broken sememes. I'm not talking about a dearth of ontologies
but about ontologies as local conventions, epistemologies always already
under contestation. (Which is amazing and liberation; there are just the
old Sartrean issues of scarcity economics in the midst of Bataille's
surplus increasingly harbored from above.)
And I'm talking about enclaving brought about by an exponential increase
in knowledge, coupled by an exponential increase in wealth among a small
and isolated class - both have utterly transformed the landscape, origin-
ally one of privilege, network broadcast, and limited access - through a
period of net neutrality, open sourcing knowledge (but not medical care,
basic survival safety nets, life on the ground), and a distant horizon of
universal open channels of information and communication - to one again of
technological privilege, limited broadcast and access, local control. I
can see the model changing from the imperial through the appearance of
democracy, back through neoliberalism to an imperium in everything but
name. Better managed this time, everything appears better and better
advertised; it's just a kind blurriness in the details: WELCOME TO THE
TELECOMS OF THE REAL.
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Date: Mon, 11 Apr 2011 15:44:15 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: LISTEN HERE! FORGET EVERYTHING YOU EVER KNEW!
LISTEN HERE! FORGET EVERYTHING YOU EVER KNEW!
Forget Everything You Know About Kenny G | Best. Saxophone ...
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John Gray: Forget everything you know - Profiles, People - The ...
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Land Matters: Time to Forget Everything You Know? The Dirt
Forget everything you ever learned about the elements that are supposed to
to forget everyone, forget everything and start over with me ... you'll
Amazon.com: Forget All the Rules You Ever Learned About Graphic Design:
Facebook Marketing - Forget Everything That Your Mother Taught You ...
Forget Everything You've Learned | Planetizen
Forget Everything You've Heard About Muscle!
Love is just a hoax so forget everything that you have heard. ... I nearly
Apr 8, 2010 ... Forget Everything I Ever Told You: Corporate Re-Invention
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Forget everything you ever knew about building wealth and financial
sweet, creamy, and bold that you'll forget everything you ever knew about
the "heat of battle" you will forget everything you ever knew about pools.
autoblogs, as long as you forget everything you ever knew about them and
Apr 11, 2011 ... Forget everything you ever knew about grindcore because
Mar 26, 2011 ... Forget everything you ever knew about massages if you've
May 3, 2010 ... Don't say we didn't warn you to forget everything you ever
Mar 30, 2011 ... The bottom line is: forget everything you ever knew about
Dec 21, 2009 ... Forget everything you ever knew about getting the perfect
Apr 3, 2007 ... Forget Everything You Ever Knew about Date-Time Handling
Mar 23, 2010 ... Forget everything you ever knew about budget deficits.
Mar 4, 2011 ... Forget everything you ever knew about a lucite heel,
Forget everything you EVER knew! This is all you NEED to know ...
"Forget everything you ever knew about Tetris. Mr. Blocko is here to rock
AMHERST, NY . Forget everything you ever knew, or thought you knew, about
The preferred method is to forget everything you ever knew about named
Nov 24, 2009 ... Forget everything you ever knew about Fruit Cake . this
The trick is to forget everything you ever knew about Bob Dylan, including
Jun 29, 2004 ... Forget everything you ever knew about Windows 9x. It's
First, they want you to forget everything you ever knew about writing.
Forget everything you ever knew about Freelancer. Forget everything you
Jun 16, 2002 ... Forget everything you ever knew about Ducatis except for
Forget everything you ever knew about sofas, armchairs and beds. SoftAir.
Forget everything you ever knew about the film noir detective. Welles
Jun 13, 2007 ... Now forget everything you ever knew about mopping, like
buckets of cloudy water, mixing cleaning solutions, and wringing out ugly
cloth ...
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Date: Thu, 21 Apr 2011 23:15:53 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
I can't change the future, but I just did.
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Date: Sun, 24 Apr 2011 11:28:33 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: cry out structures and ghosts
cry out structures and ghosts
http://www.alansondheim.org/cryout.mov
http://www.alansondheim.org/cryout5.jpg
http://www.alansondheim.org/cryout6.jpg
http://www.alansondheim.org/cryout7.jpg
http://www.alansondheim.org/cryout8.jpg
http://www.alansondheim.org/cryout9.jpg
http://www.alansondheim.org/cryout9.png
and soon text and soon structures cry out,
structures cry out through the text,
they cry out, they do not want to die,
they want to remain open and supine,
you may read them and write them,
you may harbor thoughts among them, and others,
others may harbor thoughts,
and others beyond others, and many places,
or none at all, or all, or all at once,
these cryings out among our universe,
i would like to say, these are our signature,
and theirs, and others, our universe remembered
for its crying out,
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Date: Fri, 29 Apr 2011 04:13:27 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: Insoluble Cases
=========================================================================
Insoluble Cases
=========================================================================
I've just solved the case: Here's how it happened. (Monk)
I began by thinking of the collapse of books, literature, theory: not of
carry-over and interoperability among file formats, electronic productions
or reproductions, but of the splitting and fragmentation of text and
theory, the reduction to what I've considered elsewhere as radiations and
dusts. Thus fundamental physical theory might just reduce to competing
structures producing equivalent, if not identical results; in which case,
the concept of the fundamental becomes moot through its splitting into
entangled at the top, but deeply incompatible at the bottom, predictive
and coherent constructs. So it goes, just as video, for example, has
abandoned long-form for splits and bites/sound-bites that will continue to
shrink. The world's buzzing confusing itself coheres and continues to grow
and every genre, form, classicism, or medium disappears; even the voice
channels into text, text into abbreviations, abbreviations into augments,
augments into part-objects, all against and within the massive violence
and poverty of the coming-to-age-and-end of a species literally dying for
a singularity, other than dying.
Consider new media, practices shadowed by their own future anteriors,
constant redefinitions and tropes from simulacra through vectors and
speed, back into the forests of signs and spectacles. Everything is plural
and always already has been, which cripples the monotheisms of explana-
tions, explanatory power, and the power that pervades them. Power is
always a becoming, a leverage; now and forever, power splatters among
gangs, hackers, corporations, languages, exploits, patches - and patches
themselves are the new sutures, designed, not to hold subject or subject-
ivity together, but to bridge monetary gaps in structures ultimately
doomed to obsolescence or collapse. I've thought long about this, about
the idea about this and about ideas and idea; these thoughts as well
transform, are transformed, through radiations. Think of such as literal:
how much gadgetry now speaks to itself through collocations and designated
bandwidths, just on the desk or threshold? And think of such as content,
not in the sense of McLuhanesque media, but in the dissolution of such
media, everything parceling within electromagnetic spectra that begins and
ends, usually, with something physical, some manifestation of receiving/
receiver and transmitting/transmitter. Think further, transmissions of
receivers, receivers of transmitters, transmissions of transmitters; you
get the idea, get hold of the idea, and the idea bifurcates chaotically;
in the end you get nothing, you're swallowed by the waves, by the
particles constantly in circulation. There's no room for the strictures of
genre here, for the long-form that's already rusting, corroding at the
ends, at both ends, throughout the long-form which requires patience,
silent, and grounding that's inconceivable at this point/plane/dimension.
For the long-form needs stability just like accountancy; it's the world of
classical economy, classical accountancy; it requires memory and the
stability of memory, things that can't, ever, be hacked, things that one
can return to, two or three hundred pages or notes earlier; this isn't the
case (for that matter/s, the world is no longer the case/s, if it/they
ever were) - these arguments and edifices that built up, that led nowhere,
that promised monotheisms, monotheories, that carefully laid themselves
out (when not laying bodies) - these buried their internal violence,
excreted it out the other end. All, everything here, requiring a respite
from slaughter, extinctions, exponentially-increasing populations on the
fast-track, these intrusions into the social, which now constitute the
socials: the strings of the world are pulled by children, and the
children's children, and ultimately nothing else matters. The children too
dissolve into radiations and dusts, Fukushima and Chernobyl, but also the
scatterings of local wars, gang insignia, temporary autonomous zones with
a vengeance. There are pollutions, mostly invisible, everywhere, permeat-
ing the world with the stench of death always already disappearing before
it's presence is felt; we're all embedded like journalists in guerilla
operations among the enclaves of a collapsing planet. It's too late for
anything else, but it was always too late; we lived in momentary stases -
of goods, apparently stable economies and weather patterns, that are once
again on the fast-forward track. Our books, films, symphonies, portend the
culture of death which inheres within them. We're watching ourselves
disappear, and this isn't towards the prosthetic or viral, but rather the
prion or unstable nanobots: as the atmosphere turns against us, nothing
happens but fundamental ontology that mirrors and collapses within itself.
And that's everything - in a sense, what used to be called 'anomie,' as
long as anomie hearkened back to an inconceivable, inauthentic Eden of
coherency that never existed in the first or any other place. Think of the
anomie of anomie, anomie as nothing but the word itself, the inscription
that's half read, half-disappeared, transformed by the fall of internal
empires that still seem to hold us as one, together, or in multiplicities,
or whatever groupings you might think still hold within occasional dream-
ing. Whatever else, culture appeared thick, with inconceivable depth -
this is the Castanedan theater, or the primordial or the aboriginal
habitus, epics and virtual worlds emerging out of it, oral traditions
miraculously holding forth for generations and so on. We believed that,
just as we believed the moment from oral to written or written to oral, or
the primacy of inscription or of things, or of orderings, or of axiomatics
- even those that were admittedly insecure at the edges, Godel numberings
for example tending towards the disappearance of moorings. See what can be
accomplished at a distance, through a telescope or prime number investi-
gations, but then there are always the problematics of other number
systems, multiverses, families dangerous and out of control just the next
block over. The thick was always a sheave, was always abject, always
required control. Culture not only buried abjection; it consolidated the
thing floating on top of the muck, cleaned off the shitty bottom. It
answered, it had answers, if only anti-oedipal. But abjection comes with
the corpses of extinctions, with local wars, hacking, pollutions. But no,
it doesn't come with these at all; it's always been there, what's been
fundamental are the dusts, the pollutions, the radiations, the muck that
Plato wanted to bury, that D&G dug up again and rubbed in our faces: now
those faces are gone as well.
So the ontology, the epistemology, the ontic, the episteme, dissolve, and
there is no yielding to a new order, though there might be chaos. I think
of this as 'neither A nor B,' 'not both A and B,' dual and Sheffer-stroke
lending themselves towards Pales of no concern, maybe A and B just go out
like lights, maybe they disappear, maybe they were never there in the
first place, maybe they're our dream of stability. How simple it all seems
until we look for constant, the thick again, so we can speak, make sense,
as if it were more than possible to make sense for more than a little
while, more than the occasion on the corner, the chance meeting, the
unknown disease or bullet fired in the dark. All of this is up for grabs,
sites/cites/sights of contestation, but it should be clear by now that
contestation itself, on local and global levels, among tendrils and
temporary holarchies, is what roils, what roils within the abject, what
provides no clear footings, anymore than currency or human exchanges.
Things are beginning to run out; more likely than not, the singularity
will be one of scarcity, not the fecundity of technological answers that
promise immortality to those enclaved lucky few able to afford them. It's
just a matter of time before immortality as well is swallowed up; even
cryogenics depends upon the thick, upon basic stabilities, in order to
propagate itself and the species with the wealthy few.
So we're left scattered among augmentations, inscriptions, the arrogance
of chic - and among inconceivable pain and beauty as, not only empires,
but the very elements of culture dissolve. And we can discuss these
things; if social networking is the current paradigm, the radiations and
problematic of paradigms will leave us for some brief moments when we
might pick up a book, for example, just to feel the weight of it. But more
likely we'll be listening to tunes of our own mirrored creations, as long
as the power stays on. (Wait, this isn't right here, this trope.) There
won't be tunes or books; there might be implants. They might last for a
while. There might be fetishisms of all sorts, driven not by power, but by
Lingis' lust, abject and oozing. There might be splits. There will be
scarcity. There won't be long-form. There will be momentary stases,
strange attractors. There won't be life-spans; there will be fallout.
Dusts never die, carry no information, infiltrate driven by no will of
their own or anyone's. They increase. The appearance of the future of the
world is Maya. The future of the world is graffiti. That's where it will
happen, the warnings to vacate the area, that something poisonous and
deadly is just around the corner. That's where the thick ends up - with
such unspeakable pain, with such death, that words not only fail - they
never existed in the first place. And not even that's guaranteed.
=========================================================================
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