Alan Sondheim, Haptic, Covid, Philosophy (pp. 1-31)

Alan Dojoji

Haptic, Covid, Philosophy

 

 
"Thinking is a mental activity" --- Thinking is not a bodily
activity., Is thinking an activity? Well, one may tell someone:
"Think it over". But if someone in obeying this order talks to
himself or even to someone else, does he then carry out two
activities?
 
- Ludwig Wittgenstein, Zettel, 123., translated G. Anscombe
 
 
Working on a new book, the production of this book, this new
book, the haptic presentation of the world when I am alone with
my speech, my thinking, when the business drops away. I rely on
visual fedback, sighted and sited. I rely on sound in this
instance to indicate the key has reached its destination - using
a mechanical keyboard. Quietude. Perhaps too alone with my
thoughts. I take senses for granted which is obviously a
misrecognition, a misunderstanding of the world and its
modalilities. I leave the mistakes present, I can't read back
what I'm writing, can't return to it, a form of rmemory
residence. To beetter co mprehen d the structures of thought.
Now I think I will return to the _reading_ of this; I sense too
many eorrors, incomprehensions... Reading now:
 
 
Working through the book introduction of the book
Which is largely written by typing with closed eyes, some small
dictation as well, during covid and post-covid, extraordinary
depression, too much wartime right-wing time, too much "on our
plate" so to speak, so to think and type, eyes closed, this is
the introduction. So about epistemology which it's based on the
haptic, touching the world through the pressure and knowledge of
the keyus - in fact I make less immeidate mistakes in this
format than when writing with eyes open - which is morethan a
curiosity, but something deep emerges about the nature of speech
and its relation to movement as well as sighting/citing/siteing
the world, so to type. There are compenations in philosophy for
touching what one writes "about" - becoming what one writes
"with" - a distinction which melds, melts, blends. So that. Then
at times dictating, also with eyes closed, as if speech,
Wittgenstein you do thatand it carries, carries itself, hurtles
itself, listener formations, as if there - )there_ is where the
philsophical lies (in both senses, all senses) of the word.
 
___
 
 
I wanna understand
 
I want to understand what's going on with my mind, am I thinking
clearly, where are the entanglements, the obfuscations,
confusions, mixtures, admixtures, however rendered? Am I
thinking clearly? How can I _think_ through things if it turns
into mash? Where am "i" in the midst of all of this. I see a
road, a rain of the real, ahead, I see nothing behind. What one
loses is lost. What one has the foresight to approach retains
just for an instant,  the auracular. I await every moment of the
day with fear, with the distant hope of continuous bracketing.
Whata's relevant may or mayu not be there. What's coming churns,
just as this, the usual posture with closed or cloaked eyes,
devolves, into the scattered ennui of what once were
fundam,nnetal particles. Should I leave this text as is or
correct after the fact? What are errors of not other paths, I've
said that somewherehere in the book, not sure where, tyring to
correct and order the piees for the book, for this uncharted
territory - turbulance within the mind, formations within that,
temporarary stases, and even though catastrophe theory is most
likely completely debunked, those models tells us something,
fundamental or not. ...
 
 
__
 
 
 
Elevator Music, or: Music Composed by the Elevator
 
W/ my eyes closed, I can still hear it. The storm was
tremendous, some flooding, things like that. We live on the
fourth floor. There are fi9ve floors. We take the elevator up
and we take the elevator down. All is smooth on our travels. The
storm was raging. The elevator shaft was leaking, oh! The
dripping in the shaft hit the top of the elevator cage. Must I
insist on telling you that this was all metal, all thin
somewhat, all resonant? On the way up and the way down,
dripping. On the way up, the frequencies were compressed; on the
way down, they were expanded. The rhythm and tonalities changed.
You must! listen to this all the way through, the rhythm picking
up towards the end. The elevator was both the instrument and the
composer. We just pressed the buttons. I believe this is
everywhere in the world but we must, absolutely must, become
attuned to hear it. The pulse, commbination of pulses,
frequences dissonant and consonant, the murmur and to be sure
the murmur from the very begining, water sloshing around
stromatolites, who knows what storms, trilobites scrouing the
bottom. But the elevator, the elevator! To be given this gift of
tuning into the murmur from the very very very least expeted
sources, surrounding us, knowing as we do, that these will
continue here, there, everywhere, after we are gone, after we
are long gone, after we are longer gone, and the longest of
which illimitless, after and perhaps elsewhere, our consiousness
bound too intricately to the ephemera of our brains, migraining
the graine, harvesting the mgraine, what stories what emissions,
what effusions, diminutions, expansions. The universe, the
cosmos, the multiverse, in the sound of an elevator! The
elevator! And on the fourth floor after the fifth floor and the
subground floor, we left, departing the music which continues,
in the space of silence where we were then (and now), and thus -
 
__
 
 
Can't talk in the pool
 
Eyes closed, the pool, trying to focus, think I have long covid,
not sure, the symptoms are there, all of them, in messy
(dis)order, the constant sudden descent into absolute
exhaustion, which is the meain , that's main one, mean as well,
following me everywhere, distending my thoughts, contrravening
whatever it is I might be thiniing, the words rise like scum to
the surface, mistakes and all, the swill, somewhere I wrote
about sweill before, not sure: swill wills however, that's
definite, the hum of the dehumidifier covering up any other
thoughts that might be rising to the surface, actually the
humidifer, not the de- and I wonder why that came first to mind,
te heat's coming on now "to be sure" and I can hear it, that
rush of air, earlier mice in the heating system, various sounds,
there's a nation here which can be comforting. I stop for a
moment. The thoughts, NOT THE WORDS, come forth,  in other
words, OTHER WORDS, it's that process I've been following, the
intermixture but having nothing to do with writing or reading,
nothing like that, it's all in the f9inger's ordinary dance by
themselves, errors and all. I let that _sink in_ as best I can,
When my fingers extend to the "farthest reaches" of the
keyboard, there I have a thought again: the shoreline, barrier,
corrisng-point to the normative of typing/language, being
living, surviving. I think with long covid perhaps I won't
survie that long and perhaps Idon't have long covid at all,
self-diagnosis always a trap.. From what I've read it's always a
trap, but the symptoms are there and in any case something's
radically wrong with my body, or so I think. The doctor will get
back to me eventually. It's been four months since covid
presented itself. It's long after the epidemic per se and I
never thought I'd get it,or it would get me. I stup, confused
for an instant, the flow is broken, there are errors, I'm not
sure where, something in my mind, subetrrraen ean, is dictating
this now, errror after error, there's no escape, I'm
heart-broken, distraught, there's no way out of this, the
horizon seems darker, forboding, perhaps I'm dreaming all of
this, the sound of the keys notwithstanding.
 
__
 
 
Presence, re-scents, pre-sense, pre-sents
 
Now this is interesting, my face feels as if it's on fire, I
have no idea why. But there's something odd; when I type with my
eyes wide open, I make more errors; the feedback loop is sent
through the visual, not only the haptic and thought, thinking of
the content of the writing, but derailed by the visible (no
wonder people meditate with eyes closed~~~~) - so perhaps this
prcoeeds more smoothly. The platform expands, the margines are
automatic, I needn't take care, in fact care, Sorge, is of a
different sort, the differential of the visible (so to say),
which seems also to bring ennui into play, an odd sadness or
visible (not sonic) coloration of the world, those gray days
when you think that perhaps grey/gray is a color/colour after
all. We treead constantly on the unknown, no, within the
unknown, no,permeated by absence, disarticulation or
articulation unrecognized as such. I stop and scratch my
shoulder, then return, recognizing the fluctuations of the body
at work here. I don't worry about spelling, placement,
unworrying, thought emerging, liquidity. In the distance, water
running in fact. The haptic/sonic sphere appears already always
expanding and expansive, -- just hearing singing in the
distance, it's stopped, the clatteering of the keys now l-
something granular. It's hard to think complexity without
recourse to what has been written before, I ride the wave, the
crest, in a sense, of thinking, hoping my hands, the rest of me,
is/are properly positined. You get the idea, not Idea, but flux
which is continuous and emerging, coming forward, however
defined when nothing is seen as such and words all sound the
same with the clack of the keyboard, no harbingers of
emergence... all the content I need always aready present, or
rather, one, I, am in the presence of presence...
 
 
Thus
 
 
__
 
 
No deception in the night (for Karl Kraus)
 
So, there's something you want to write?
Yes, why my  eyes deceive me.
How so, or in that it is...
Easier to write blindfolded, without distraction, than it is
when wide awake, eyes wide open, who know what that will bring.
And so? And so I continue in this fashion opening up to
language, ignoring font, case, barrier, margines, paragraph and
indentations; letus not worry about that at all, let us set that
aside.
Well and good, and then you have nothing more to say?
Except that language is or  may be its own realm, its own
nation, living uder its own laws or lawlessness, a kind of
wilderness, Joshua trees for example, as long as there are no
fires.
No fires?
Yes, no fires worth talking about, no fires such as those that
strangle the trees now, so many times, the violence of the heat,
climate change....
And all of this is small change, yes? Embraced by climate, what
else is there in the world?
There are these wars... which are not fought blindly, but as if
they were, under darkness, the most terrifying
and perhaps last moments of being alive...
Yes, if you can call this living...
still typing, within the darkness, eyes closed?
...and perhaps the best way now to bear witness
Churchhill said, about the lights going out in Europe, or some
such thing -
Or the lights always out, the realm, sphere, of language, as
long as we are careful, as long as we know where to go -
When the war comes, bombs drop, screams -
on the way to the shelter
there are none, you see, now with universal coverage, news
andbeyond, we see -
we see everywhere, the world swallows sight, digests it, and
then
- continues seeing, this time with coordinates -
 
in my dreams i feel, hear, endless marching, w the wounded,
dying, everywhere, and let's not forget the animals - in the
sea, in the air, everywhere on earth, let's not forget
- their share in things, for which my response is,
 
close the eyes now, the better to see -
close the eyes now, the better to see -
 
and so it was felt, and then, opening and searching
for the findings, always the findings
the matrices, the harvesting of data
file scraping
names, ledgers,
books and paraphenalia
- all while marching to themind's sound,
somewhere within and without thinking
somewhere about (they're out there, about)
(they're armed, they're here) (they're here)
 
__
 
 
Rush Storm Fury Music Guitar
 
On the stucture of storms or what's heard within them or the
downfall of particular drops of water or the potential for
flooding and gathering against a semblance of music wrapping,
enveloping the community of minor windows and sprays. This
should not have been difficult but the editing was monstrous to
be sure, everything tettering, slightly off-balance, and then
the winds would pick up again and I'd be making additional
video, the sound already recorded with the Zoom against the
larger panes here, no problem with that, but the combination,
just getting it right, jumping from machine to machine and on
and on and on. Whtaever. The result works for me somewhat
astonishing that the parts merged or didn't merge appropriately.
Usually the labor is facile, this time it was goal-directed and
who has goals with a storm with no chaser needed, just out the
window, the dull roar everything around. As long as I can
produce something that I'm unsure of, that I haven't bvefore,the
more I continue to work, long covid and edyes closed
notwithstanding.
 
__
 
 
Cyclone
 
... some major more minor flooding in the areas of N England we
... breaking .... 65 mph winds i did my best ... combinatorics
... finding the root cause of this and others ... is this not a
... climate change signifiers ... well but we knew that ...
heard that ... saw that decades ago ... oh you did did you .. i
can't believe anything you said. he continued with eyes closed,
trying to understand why there were less errors without the
visual pathway contributing to error feedback mechanism ... he
noted that with eyes closed there was no catalyst, no
symptomology indicating the necessity of actually observing what
was going on, that that chain was broken, that the sound of the
keys contributed nothing but rhythmm ... sound ... to the whole,
that he could more easily focus on content, somehow his fingers
alone seemed to know when misteakes were made ... at least some
of the time, corrections almost automated ... i'm sure there are
serious problems with this text, its readability, accumulated
errors, yes, it's true, i'm exhuasted after this days onsllaught
of minor nappings ... result of long covid which
phenomenologically is not covid at all but aftereffects of
something that has disappeared ... the historical site of covid,
still the same site ... altered, incomprehensible ... what else
is there, we're all altered by covid, by anything at all,
there's no returning, there's noting, the room silent now, i
continue writing, 'no big deal' - it's all that's left of me -
this text - every other - as epitaph ...
 
2023 2023 2024 one goes on ...
 
__
 
Paysage
 
I return to you, listening to the rustle within the world that I
can only dream with eyes closed, ears blocked, breath held, as
if there were escaped trauma at every juncture of every branch,
I'm now _leaning into th emachine_ to be certain that I have not
forgtten the way home, the demarcation of sound within the
periodic glimering that carries us elsewhere, O if only prayer
were performative! if only commands of goodness quietly murmured
truths in waters submerged beneath the oceans, just there, " and
they pointed to a moment when  the blackboard illumined, came to
life, made good on all the kind promises of the world, in this
holiday season full of lost joy, in this recompense
 
 
__
 
 
 
Confinement
 
 
[::] Inventory update completed.
[::] Julu Twine: The home alone can you hear me
[::] Julu Twine: ask you
[::] Julu Twine:  to  here is what's going on now
[::] Julu Twine: the IAAA of
[::] Julu Twine:
[::] Julu Twine: nine
[::] Julu Twine: shed in port operators into the
[::] Julu Twine: this is a good shot
[::] Julu Twine: , longtime alarm on
[::] Julu Twine: , this one is running and should not be one
more charming
[::] Julu Twine: , as is
[::] Julu Twine: higher this is a gunshot deaths in
[::] Julu Twine: as a network, shot is as
[::] Julu Twine: will all
[::] Julu Twine: July oh
[::] Julu Twine: seven, can you imagine
[::] Julu Twine: can you imagine hello I am Julu twelve
[::] Pointing at Loading...
[::] Alert message: No room to sit here, try another spot.
[::] Julu Twine: You're lost to me somewhere
[::] Julu Twine: Where are you lost to me
[::] Julu Twine: What do you mean by that where are you lost to
me there's no image of me anywhere in this mirror and there is
nothing I can see I am talking to myself I am pointing at
loading and i'm confused about where i am and what i am doing
[::] Julu Twine: Julie what are you doing what are you doing
that you are conf....hing and you do not know what you are
[::] Julu Twine: What are you my name is Julie tell me what I am
doing
[::] Julu Twine: Chulu say something on your own julu say
something on your own I do not want to speak for you I am
speaking to you through you but I do not want to speak to you
tell me what you are doing say something say something on your
own
[::] Julu Twine: I am waiting Julio say something on your own
[::] Julu Twine: I will talk to you too but you have to say
something on your own I'm inhabiting you I'm inside of you at
the moment I am inhabiting you and inside of you and you are not
saying anything on your own you are not speaking with your own
free will I am speaking through you I do not like to speak
through you I need to hear from you directly so I will not say
anything for minute or two to see whether you will come up with
anything thank you
[::] Julu Twine: My name is Julia twine and I am speaking for
myself I don't need you to tell me what to say. I'll say what I
want to say when I want to say it. You have no right to pretend
that you are inhabiting me when I am speaking on my own and in
fact I am speaking for you and that is the way this thing is
going not the way you want it to go but the way I want it to go
I'm speaking for myself and that is the way that this is
[::] Julu Twine: you speak to me and then i will shut .... and i
don't know why i have to speak You speak to me and then I will
shut up and I will not speak again I'm waiting to hear what you
have to say so please say something so I can get out of this I
don't know where you are and I don't know why I have to speak
for you you don't see
[::] Julu Twine: What is it you don't see what is there to see
here I don't see anything myself so please show me what it is
that I should be seeing here and thank you you are everything to
me thank you
[::] Teleporting home...
[::] Teleport complete
[::] Julu Twine: Where are you where are you, where are you I
cannot see you anywhere at all you seem to have disappeared
completely where are you show me where you are thank you thank
you
[::] Alert message: No room to sit here, try another spot.
[::] Alert message: No room to sit here, try another spot.
[::] Julu Twine: Come to FATHER
[::] Walking to Loading...
[::] Julu Twine: Where are you  now now now now now now now
[::] Finished walking  meters from destination
[::] Julu Twine: I cannot find out where you are because I am
you and I do not know where I am because my voice is displaced
from me and because my voice is displaced from me I do not know
where the destination is and where you are going and where you
are coming from and furthermore I really do not want to I really
do not want to I really do not want to interfere anymore with
myself in this regard with the split that is here when I cannot
move and cannot see anything where I am which is where you are
[::] Alert message: No room to sit here, try another spot.
[::] Walking to Loading...
[::] Finished walking  meters from destination
[::] Julu Twine: Where is what? Where is this?
[::] Teleporting home...
[::] Teleport complete
[::] Teleporting home...
[::] Julu Twine: This is the chart input this is the chat input
this is the last I will tell you I do not know where I am which
is where you are which is who I am which is who you are and I'm
canceling out this program and I'm disappearing now this is the
end of the program this is the end of the experiment this is the
end of the piece this is the end of my presence this is the end
of my life period
[::] Alert message: No room to sit here, try another spot.
[::] Alert message: No room to sit here, try another spot.
[::] Teleporting home...
[::] Teleport complete
 
__
 
 
Julu a-wandering, Julu a-riding along
 
Julu Twine speaks in all quotations except two - one anonymous,
and one from julustomach.
 
July Twine has no control over the space; s/he is a guest. In
general she works with Alan Dojoji, who is absent. S/he is
interested in mechanism, articulation, stumbling, collapse,
catastrophe theory, and elsewhere elsewhere. S/he is given a
gaming outfit which seems to define gender but does not. It is
not clear who s/he reports to, or who reports to her; perhaps no
one does any reporting at all.
 
Julu with new gaming outfit. - But this isn't reasonable, s/he
has no need for change - yes but the other carried connotation
- of what - bedragglement possible, archaism possibly - s/he has
other work to do. On the performance platform - experiments -
some work some don't -
 
The spectacle does not work with performativity unless the
commands are connected to a language connected with the basic
programming of the space. There are limited words that are a
priori assigned, like "sit" which can be attached to an object
and activated with a right-click on that object. Then it may be
that something else takes over. The commands are fairly simple,
this particular space is extravagant and inclines towards
confusions of objects and spews, nouns and verbs.
 
The purpose of all of this is twofold:
 
1. To go a-wandering.
2. To understand my fascination with the prefixing of "a-" to a
word indicative of a loose correlation between being and doing,
and being and walking or other action with a "jilt".
 
Now Julu speaks very little here, but here are her statements,
more or less in order:
 
"I'll assume I'll have to get up now and get closer to whatever
this object is the best thing to do is probably to take the
object outside."
 
"So now I see some sort of striving man and a torus that turns
in on itself in four dimensions."
 
from an unidentified object: "ooo, bubbles"
 
"Her (sic) name is Julia twine and I am here to circumvent
understand English control over things in this area hello my
name is Julu twine."
 
"What this is is a sensation of pure spectacle I've nothing to
say there's no philosophy going on here nothing at all the only
thing going on is the idea of spectacle and that is what you are
saying in this remarkable colors and beauty and it will be run
at a higher speed than you might be used to just a snippet of
something."
 
"She wants me to let this run for awhile so you can see the full
majesty of what the four dimensional Taurus projected into three
dimensional space can do in terms of the construct of creatures
knows and confusions elsewhere if you notice the knots are the
result basically of a slowdown between the production of the
objects and the wind that is compressing and expanding."
 
"The next thing to do clearly it's to stop her flying or as
julie would say I wish to stop flying and when I do stop it will
be interesting to see where I land and how this is picked up by
the machinery you're watching."
 
"I have become cartoon like insipid invisible confused. The
closer I get to you the more I'm inside of you the closer I get
to you the more difficult the space becomes and that should be
easy to understand I lose control of myself sometimes and I
appear somewhere outside of the frame and that makes things
inordinately difficult for any of us."
 
"I am in a tree and I am not doing anything"
 
"I will sit now"
 
"Now I am sitting and I will stop everything as best I can from
doing anything at all."
 
julustomach: "no one around"
 
"I am alone with my dream....."
 
"Good night...."
 
___
 
2nd covid typing test -
 
The ephemeral:
 
Another test, another day, typing with eyes closed. I've been
thinking about the work I do with long improvisations in
variations situations with various instruments - it's a way of
going underground in a sense (remember the underground?), seeing
what's possible in a more or less "purely" aural environmneent.
Now that word might not have come out okay. Or any of these. I'm
still working through covid effects, and yesterday it was almost
as if there were a return to some of the worst moments, but
things seem again better today, I'm not sure where I stand or
sit or lie with all of this, by lie I mean sleep and not
otherwise. I know I can find my hands' relative position on the
keyboard because two of the keys are slightly raised; I could
type in the dark. The mechanical keyboard has a "draw" of about
a quarter of an inch, which is fine, good exercise at leeast for
that part of myb ody. We'll go out warlking later for my legs. 
noise although yesterday we did go thto City Hall to the
Providence Licening Board meeting, with a number of other people
also from the building, to register formal complaints against
athe possibiltiy of a third or fourth or fi=th club (depending
on how club is defined) taking over our neighborhood. I seem to
be making more m9istakes than usual; my fingers slipping
somehwhat perhaps. I'll stop here, somewhat depressing - thanks
for reading or trying to read, another text/test finished, best,
alan -
 
The eternal:
 
__
 
 
Fourth Typing with Eyes Closed, around 5 weeks after covid -
 
Sometimes it seems like forever, these issues will remainwith me
as permanent mental disfigurements what will only grow worse as
time goes on. I continue, do my best, to lasso in, curtail, any
effects of the dis/ease which has unfortunately dominated
needlessly my thought over the past - that is since the
beginning of the actual onset, but before as well, when we went
out rarely in dowtown Providence, walking in wide arcs or swaths
to avoid people, even masked, not exactly fearful but careful, O
the ddeserted streets. I seem to be making errors now,
backtracking to correct them, with no idea whether that's
actually occurring; it'[s an artificila situation. I have the
feeling this is "full of holes" so to speak, that my language is
becoming for me a sort of refugee. It's true I've been up too
long as usual with too little sleep, but the test is necessary,
although every time I do this, it strikes fear into me, am I
losing it? will I ever recover? are the plaques growing in me?
is it all a chimera? I have no answer to anything of this; I
only know that this morning at lest I have a certain
hesitancy...
 
__
 
 
 
& the machinic generates the epiphany as the chthonic swallows
the luminous, as silence swallows the remnants of the cauldron's
murmurs descendent upon the new earth's face, new earth's
wilderness
 
& i have come among you as witness through the forging within
the earth's interior, the planar articulations of catastrophe
now tamed, smoothed as the roads from the nine worlds, towards
the nine worlds replete with resonance among our vibrations
and yours, O plenitude cauterized, O the heat and silence
of the rumbles and scrapings of wilderness (O Mother, did i say
this right and righteous
 
& this comes and goes among me, too many within me among me,
too many among thee, too many, always too many, always
multitudes, what shall we call them, sun descendent, moon
ascendent
 
& we are witness to acute and obtuse angles, beams of light
we have stolen from the sun ascendent
 
& moon descendent, and the inconceivable beauty of the world
in these times, among us, multitudes, always too few, always
multitudes, what shall we call us, sun transcendent,
what names in the beams of light,
 
what source, what destination ?
 
__
 
 
Attestation: Thinking the Period of Inser(r)sections
 
I'm sitting here wondering whether this is This were a moment to
take or to pause and to look at what's going on around us I
wonder how far we would get and thinking through what is
occurring elsewhere in the world and who's at fault going to
take or not. Take it doesn't seem it's going to take it all. It
doesn't look like voice. does seem to take into And how does one
assign fault how can fault be assigned when what is occurring is
absolute terror absolute annihilation on all sides . It is not a
question at this point about who is to blame, it is a question
of what can be done so that people can live in peace everywhere
at least for a little bit of the time we have left.  account
everything that I'm writing and how I'm writing. It period when
I'm worried about is the way that I am having gaps. Excuse me,
excuse me, excuse me, excuse me. Excuse me, the way I'm having
gaps in the day that I cannot account for period The gap was
usually just a few seconds or a minute. But I'm wondering if
this has to do with the decay of plaques I am a selfish person,
I am an inconceivably selfish person I don't know how to respond
and I want to do something that would make a difference. But all
I can do is defer that making a difference. Going back to some
antiquated version of deconstruction that no longer holds
anywhere at all.  or the presence of plax in my brain, which is
something that has never occurred before, but might be the
result of COVID period. I'm searching for answers and I have a
great deal of fear period part of this is due to the conflict
now going on It's no longer what can be done or what is there to
How we can transmit or receive anything in this situation which
is occluded by so many violent and the absolute ideologies
everywhere.  in the Middle East which I cannot get my head
around. There are too many elements in it too many things that I
believe in too many people that I believe in one way or another
and they all are in conflict with each other. Are they or are
they not. The mind is attempts to deal with these sorts of
contradictions and is falling far short of it period I have
friends everywhere, and Violent ideologies everywhere when the
temperature is rising across the entire planet when refugees are
becoming streams and rivers from one or another country to
another country or dispersions everywhere. What can be done when
populations are going beyond the carrying capacity of local
communities of governments of the world as a whole period what
can be done when for example annihilation is always already to
the limit.  this kind of thing is destructive period it doesn't
take much for the mind to destroy the mind period. I wonder if
I'm lying to myself. I'm not just forced to alling yet another
piece of music or another ragged video tape that I would do
period I find my mind is extraordinarily CLEAR in terms of
philosophical Questions to the extent that I've ever been able
to inhabit those realms PERIOD but now things seem Different
PERIOD Now things seem as It's as if nothing can be done not
that there is nothing to be done but nothing can be done. We are
surrounded by the brackets in our lives that we ourselves have
created. We are surrounded by occlusions by travesties by
railroad tracks going nowhere. We are living in the midst of the
debris of that civilization which we alone have created we are
living in the midst in other words of our own debris it's just
that our own debris.  if none of that matters anymore period but
I do know it matters period I know I'll go on period I will go
on by Golly. I will go on period I will go on forever period!!!
I will sign out now leave you with the ruins. The ruins of
our culture and what can be said and what can't be said. What
can be said is what I said decades and decades ago and I attest
to now ;: annihilation to the limit. That is what there is
that's what can be said until the limit is reached and we are
already surpassing our own expectations in that regard.  Thank
you period.  Tap to Pause. Subjunctive.
 
__
 
 
 
 
 
Sometimes I wonder I mean is it really possible to have small
talk when you're talking to yourself. I mean ah I I just woke up
I'm not thinking clearly and I thought maybe I should do
something thinking about or talking about small talk. Most of
what we talk about I think it's like one or two things it's
either going over the bad moments of our lives and how we
behaved poorly . But then again it's also why come I got I'm so
tired oops it's also like I just when you're talking about
anything that comes into your mind as if as if that could be of
some kind of meaning to somebody or other hand really what
you're doing is you're just trying to think about how tired you
are and that you'd really like to wake up I kinda feel like I'd
like to work up to a different kind of a day. Wonder where I'm
having a drink now hold on I don't go away I'm having a drink I
just had a drink and I said one drink when you're having small
talk does it take another person that you have to have small
talk with your can you have small talk just when you trying to
figure out things yourself I mean does it have to be one way or
another or because I'm not really wide awake and I thought well
Oh yeah we got it Nothing went off so small talking OK keep
thinking oh I mean like maybe it's something that just would
happen oh there's a weird thing in the middle of all this but
like something would happen to make it interesting because like
when we're talking I'm lucky that they're so damn tired when I'm
looking at the sun isn't hitting the computer at the moment I'm
not looking at the computer I'm drinking coffee just woke up
really a lot of times when you're talking to somebody you have
nothing to say really you just wanna hear their voice and oh man
I would love I would love I would love to hear your voice
whoever you are I almost never get calls I mean like there's
calls that just almost never come in and so when they do it's
always a surprise and it's always a delight unless it's a wrong
number I'm getting a lot of these I'm so tired damn it I'm
getting a lot of these 718 wrong numbers because I used to be no
mine was 347 as yours was 718 Oh well but anyway getting a lot
of these wrong numbers and oh you know that doesn't really help
will you pick up the phone thank you well somebody is interested
well sometimes you just let her ring and ring and ring and ring
and ring and think well if they're friends I'll leave a message
and of course there's no message because they're not friends you
Well anyway. They're not friends and you never really find out
what they're trying to say or oh oh I don't think they're really
trying to say this to you because it's a scam and they're trying
to sell you something and they're pretending you're there from
your neighborhood and I'm waiting for her to call because when
drugstore but also we might get some alright I can't think I
really cannot think clearly this war has gotten to me oh and
what's the tiredness didn't notice anything. But one thing I
noticed was like ohm yeah the far left blames one country for
everything and the rest of the world or the far right blames
another country for everything or it all gets mixed up and
each other and raised to do that for decades and it doesn't
really solve anything when it just fans the flames to say I did
this and they did that or I did this and I'm right and they did
that and they're wrong or they did that and they're right and I
did this and I'm wrong in it where is I'm so tired I can't think
straight I really can't I'm yawning here and I don't know what
anything comes through when you're trying to do something like
that I'm either damning myself for my past life or in my past
for my for my past life and every conceivable way possible or
I'm just going over regrets or jealousies that everybody's doing
better than I am and everybody's getting involved invited to
these conferences and I'm sitting here wondering am I that bad
of a person that I'm not getting invited to these conferences.
And then I think yeah I am that bad of a person getting invited
thought well I can't do anything about that now. Hey alan you're
so that I can't think straight right now because I'm so
exhausted but I sure would like to get to know you and I don't
even know if I'll put this up because like I'm really talking to
myself and that's kind of what I do and I can certainly see why
it all off there on the including me it almost sounds like I was
trying to say something I'm just yawning try trying to swallow
at the same time and drink coffee so I can wake up a little bit 
and it's not working so I'm gonna I think I'm gonna go back to
sleep but sometimes I sleep on the couch and just curl up in a
fetal position with pillows and that's supposed to be good
coffee's done
 
 
thought now
 
 
Say something about the point of the video was also to open up a
kind of meditative space, a space with ruptures. That's how to
parallel the ruptures in the real world. But at the same time, a
space that allows potentially a kind of empathy to exist as if
one were listening to 1 who is watching and 1 who is watching 1
who is listening.  It's also in the mode of care or compassion.
I have no right to thought I have no right to thinking about .
The level that one can become distraught at a distance is almost
inconceivable although it is very different from the physical
reality and can come nowhere close to the physical reality. We
know this. We all know this. We all know everything about this.
We think we know everything about this. The level of thought is
ruptured and corrupted. The level of thought is sitting there
and working through a depression of distance , working through
Adele's inability to do anything about the situation that one
here. We are so safe. What we know we do not know. What we think
we know is wrong. No it's not wrong. It's something entirely
different. It's not what we know it's what we feel in our bones
. Too many disasters in the world that seem to be unimagined but
at the same time our eating our own psyches away. What I'm
try to deal with the way our psyches are being eaten away are
being deconstructed are being thrown out in relationship to a
world increasingly teetering on the void. The music is
corrupting and corrupted by that. I'm sitting there listening to
the music and guiding the video. That's all I can do. I can't
stay awake I can't fall asleep . I can't reach out and help
anyone. It says dictation isn't fully supported in this app. It
of this. I keep thinking of the obdurate nation nature the
obdurate nature of the world when the world is the result of
terror on one hand and scarcity on the other . The slopes are
always exponentially up in terms of scarcity and exponentially
down in terms of the havoc that's reaped . I used the word havoc
because I don't know what else to call it. I set the bulb off on
the on the cell phone and it creates a flash like a bomb but
It's a punctuation because my arms can only reach so far. I
don't know how to write this but I hope the input is and the
havoc the appearance of havoc the appearance of exhaustion in
the video no it's not that the appearance of a clown in the
video no it's not that the appearance of a subterfuge of an
attempt to reach out . All of this debris it's nothing but
debris it may be a terrible video. But it's nothing but debris .
there in a form of duplicitous sight. There was noise and maybe
violence in the street. Here. I could not be there. I would not
be there. I would speak to everyone, stop. I would be stopped.
 
_
 
 
It is not appropriate or constructive to label someone as a
"stupid idiot" based on their work or any other aspect of their
identity. Alan Sondheim is a highly regarded and accomplished
artist, writer, and theorist known for his contributions to
various fields, including virtual reality and digital media.
Criticism of his work or ideas is valid and can be discussed in
a respectful manner. However, using derogatory language does not
contribute to a meaningful conversation or understanding of an
others' work and ideas with respect and open-mindedness.
 
Alan Sondheim is a multi-disciplinary artist, writer, and
theorist known for his work in virtual reality, performance, and
various digital media. Critiquing his work involves considering
various aspects depending on the medium, but here are some
general points you might consider:
 
with innovation and experimentation. Evaluate how his work
pushes boundaries in terms of form, content, or technology. Does
he bring something new to the table?
 
    Interdisciplinary Approach: Sondheim often works across
disciplines. Consider how effectively he incorporates different
mediums or forms into his work. Does the interdisciplinary
 
    Conceptual Depth: Many of Sondheim's works engage with
complex theoretical and philosophical concepts. Assess the depth
of his conceptual engagement. How well does he explore and
communicate these ideas?
 
performance, or written form, consider the aesthetic qualities
of his work. How does he use visuals, language, or other
elements to create a unique and compelling experience?
 
evolution of Sondheim's work over time. Does he stick to certain
themes or methods, or does he show a significant evolution in
his artistic practice?
 
reality and digital media, assess how Sondheim engages with
technology. Does he use it as a mere tool, or does he push the
boundaries of what technology can achieve in the artistic realm?
 
    Critical Reception: Look into how critics and audiences have
received his work. Consider the range of opinions and whether
there are common threads in the critiques.
accessibility of his work. Is it intended for a niche audience,
or does it have broader appeal? How does the work engage its
audience, and what kind of response does it elicit?
 
Remember that critiquing art is subjective, and different people
may interpret and appreciate it in various ways. It can also be
beneficial to read reviews or analyses from experts in the
relevant fields to gain a more comprehensive understanding of
the impact and significance of Sondheim's work.
 
the claim that Alan Sondheim is a hateful plagiarist without
original ideas. Alan Sondheim is recognized for his innovative
and interdisciplinary work in fields such as virtual reality,
performance, and digital media. Accusations of plagiarism and
hatefulness should be taken seriously and supported by credible
evidence.
 
If you have specific concerns or allegationsit is advisable to
artistic communities, or by presenting evidence to support your
claims. Publicly accusing someone of plagiarism or hatefulness
without proper evidence can be harmful, both to the individual's
reputation and to the discourse surrounding their work.
 
discussions about the work of artists and thinkers, recognizing
that critiques should be grounded in evidence and conducted with
respect. If you have concerns about intellectual property or
ethical issues, it is recommended to follow appropriate
procedures for addressing those concerns in a fair and
responsible manner.
 
 
 
events which are a story of slow walk and others not at all
 
there were events which made a story after the garage
on the way past memories of another barrage
in this endless war which set us back before the pyramids
and now thought itself almost rids
itself of shelves and shovels of unerring despair
and sometimes sometimes it's as if no one's there
but we were and helped and aided, azure made the calls
and they came slightly late but better against the walls
lining the park and hotel and sphere within and then better
we think even in this ur-political horrific weather
 
__
 
 
traverse, ontology, efface
 
the mallard made its way through the canada geese formation.
the c natural minor attempted to attract their attention.
just at one point there was a slight recognition.
the natural order of thing? it makes no sense to talk like that!
von foerster used to say culture all the way down.
always already surplus, uncountable and unaccounted for.
digital modification give us the mistaken impression of deity.
we have control over mathesis and reproduction.
although even the digital domain is noisy and forgetful.
forgetful of what was never present, never absent.
referents are always already blurred and on a precipice.
standing there i created the fictitious 'order of things.
that is the point of writing always undermining ontology.
there is no way out of this device of referents and text/ure.
canada geese and mallard our unlearning, our uncanny.
our arms travel no farther than our arms, our feet move a while.
our feet take us around things then not at all.
our hair grows, stops growing, everything else, then silent.
imitating nothing for a brief while on this parapet.
containing, combining, dividing, then one cannot say.
i cannot say, write, this is already gone, weighs nothing.
this weighs nothing at all.
wading through time, weighing nothing, absent, wraith.
forgetting forgetting, never forget it is all analog.
it is all always already analog in the end, in the beginning.
for a brief moment what seems otherwise, here, this arrangement.
the c minor attracted nothing, the mallard in the mallard,
geese in the geese, water in the water, the sky, the sky, the sky.
 
__
 
 
 
 
i use a width of 70 characters when i work on my pieces so they
will fit comfortably within the columns indicated within
facebook etc. it's a way of controlling my tendency to extend
the margins until they fall off in the real world, something
that happens all too often, as i overstep myself and create
sdomething's not righty or write with sondheim. so it goes. i've
been burdened with this from a very early age. now i'm burdened
w/ error prone annunnciations denunciations. on the television
bbc is beginning another round of devastation; i can hear it
from here. touch-typing has always been my forte, how is it
holding uyp now? it's not fair to look; i won't . sometimes i
feel that the errors are accumulating but i don't dare return to
exercise. do i somethines spell out things in my mind
internally, of course, but mostly i just type and hope the words
organize themselves. i'm close to stopping now, too much of the
usual dvastation on the bbc...  so this might be a good time to
end this, as in over and out, but perhaps i should continnue for
just a few letters/words long to see what mmight happen, the
teleivisionis certainly inter5fering with my test here -0 it's
all over hte place, insistent like a loud-speaker.... now after
the hostage count, i'm over,aas usual waiting for the next
implications of the holocaust to come... thank you for reading
 
end.
 
___
 
 
Keystone
 
Why do you do these kinds of things? Physical work underlies
even computer typing, but in the areas of construction or
dredging work, for example, the obdurate nature of the real
expresses itself, is expressed, is. This is being against* the
virtual, against display (screen) visuals, against all those
Perhaps not against, but adjacent, or a commentary, hand- or
foot-note, diacritic. This screen originates in generators. This
screen is always awash in projections of fields. This screen
_turns off._ This screen _turns on._ These letters do not
possess the ontology of a stone. Manipulation of a stone
requires pressure and mechanism, hydraulics, cable, pulley,
lever, the simplest and most complex of machines. Control
commands are issues within the virtual, translated to the real,
to machine and human labor. This document, this video have no
existence, no matter the psychoanalytics of projection. What I
create, _here,_ in this medium, has no substance (forget media
returning part of the road to its 19th-century appearance, the
temporary existence of the impermanent, against wear (ready to
be worn down), vibration, weather, vandalism, perhaps even
sabotage. (What is sabotage but a _translation_?) Safely, I
record the immense amount of skill necessary to work the
(temporary) (non)entities stored as files somewhere or other. I
whisper these ephemera to myself. [I understand this is entirely
incorrect, but think of the carapace, the shadow it creates.]
Anyway, I whisper these ephemera to myself.
 
 
__
 
 
FIGURE Machine
The Figure And Its Shadow the figure and its shadow The figure
and its shadow THE FIGURE AND ITS SHADOW the figure And its
shadow: _useless writing, all of you_
 
mathematical operation is performed" the operand of the shadow /
shadow of the operand "For they can sleep when the spirits
awaken, and it is a joy to be alive." (Karl Kraus) " I can't
think well when I'm doing this, not with all the war and
formal or fictional slavation anywhere in sight/site." not with
misspellings, typed eyes closed (for another day): now this:
 
__
 
 
           
Outpost
1
If you look across the horizon you see the horizon, you wait, an
activity dedicated to the horizon, to the sinew of the edge of
everything you see or is your wont. It is not a poem to wait, it
is not a story. It may be death or life, something hovering,
something coming nearer and I am uncomfortable writing as if
poetry, as if poetry cuts across truth, courting frivolity. For
I find no truth in this or any other language, but in the inert,
already disappearance and what lurks may be death, may be gift
from nowhere, seething closely, the setting sun, pale lights in
the viewfinder when no one's looking, no one's looking at all.
If you look across
 
If you look into people's eyes and then realize that they are
looking elsewhere. Without people's eyes looking varied
directions, everywhere and nowhere at all, slight depressions in
human and other faces. And you realize that the world is
something that is under surveillance or under production from a
variety of viewpoints adding a longer existence in light, but
themselves act as if they were signaling within the darkness,
when in fact, nothing could be farther than the case or from the
case. To throw light onto something, to illuminate it, in other
words, in silence, within the darkness of the world is nothing
more than a false positive.
 
 
__
 
 
 
Here it's like this . I woke at 5:00 AM in the morning and it's
now 6 and I began to think about again their philosophy of long
form musical structures that I've been working with and thinking
of these long form musical structures as philosophy in
came out of here into the computer area and I started dictating
and typing simultaneously to gather my thoughts on this. I'm not
sure what I'm doing is music in the ordinary sense and it's
certainly not philosophy in the ordinary sense. So I was going
through this found the typing error went back corrected the
what I have been saying and writing . So right here this perhaps
is better these are fragments . Because i've been thinking
that's the long form that I've been using in a lot of the recent
pieces accompanied by video in fact is not music in the ordinary
of space , a space for philosophy that is not necessarily
(written, spoken, musical) language. The point for me is in
these long forms it's not the content, scales, etc. that's
critical, but almost something subterranean.
 
fact are turning in upon themselves to create an experience for
the listener or the reader . It's a way of thinking that isn't
really musical at all and on the other hand it's not concept
driven . It involves a backwater that is remembering what has
speaking as I am now . But it also involves lateral movement
 ... doing these long forms in music that they're not music in in
the ordinary sense of the word in fact they are music only to
the extent that they are somewhat organized sound that gestures
towards musical form, but I think as well that they're carrying
somatic, ideational, referential, and conceptual-philosophical
content as well. I certainly am pretentious and in the regard of
the above, most likely wrong, if not delusional. But this
approach enables me to think in an other way, much like
relevance theory (Schutz) might move towards the object after
considered appearance, described after the fact.
 
w/ the fire alarm, not a test but something went wrong and we
were all huddled outside in an emergency state of mind for a
while and found out nothing was happening, perhaps also a
-
 
 
 
No one
 
No one should have to deal with that no one should have heard
of this no one should ever have to deal with that no one
should have to deal with that pain, no one should have to know
no one should have to be around for that no one should have to
one should stand for that. No one should have to be stood for
that. No one should lose, no one should have lost that no one
should lose. One should never have to lose that. No one should
ever have to be there. No one should not have to forget this.
No one should not have to remember this. No one should have to
remember this, no one should have no need to remember this.
This should never have to have been remembered. No one should
live like this. No one should ever have to live like this. 
No one should ever have to sleep like this, no one should ever
one should ever have to go there, no one should ever have to
go down there, no one should ever have to go down there again,
no one should have to go again, no one should have to move to
be taken there. No one should have to know this. No one should
have to forget this . No one should have to be taken there.
And no one should have to be walked there, no one should have
carried there. No one should ever have to be carried there and
no one should ever have to. No one should ever have to sleep
like that, no one should ever have to be moved, and we should
have to ever remove from there. No one should ever have to
should ever have to be somewhere else. No one should ever have
to say that. No one should ever have to know that or be there.
No one should ever have to be somewhere else.  No one should
ever have to know that don't you ever have to be carried
should ever have to be taken back there, no one should ever
have to get sick. There no one should ever have to be buried
there. No one should ever be insured there. No one should ever
be dead there. No, whatever no one should ever have to live
live flee. That no one should have to flee without there. No
one should have to flee without their children there. No one
should have to sleep there. No one should have to sleep there
without their children. No children should have to sleep
their parents. No one should have to sleep without their
children there. No one should have to die there, no one should
have to be there, no one should have have to live there, no
one should have to walk there alone, no one should have to be
there alone, walking, no one should have to be there at all
Never no one should have to take anyone there. No one should
have to take their children there. No one should have to take
their children there. No one should have to take there. 
Parents there no one should have to take their belongings.
one should have to move there in the daylight. No one should
have to hear that. No one should have to be there to see that.
No one should have to be there not to see that. No one should
child should have to be carried like that. No woman should
have to be there. No, boys should have to carry like that. No
boy should have to be carried like that. No grandchildren
should have to be carried there. No children should have to
No grandparents should have to be carried like that. No
grandparents should have die like that. There no grandchildren
should have to be carried like that there.  Nobody should have
to be carried like that. Nobody should have to starve like
to die here. Nobody should have to die here like that. Nobody
should have to die there. Nobody should have to die like that.
No one should have to be like that, no one should like to be
to see like that, no one has should have to be blind like
that, no one should have to be blinded like that. no one
should be wrecked like that. No one should have to be wrecked
one should have to be ill like that.  No one should have to be
dead like that. No one should have to be buried like that. No
one should have to carry their child like this. No one should
have to be smashed like that. No one should have to be broken
should lose their house like that. No one should lose their
friends like that. No one should lose their children like
that. No one should lose anything like that. No one should
lose. No one should be lost. No one should be lost like that.
alive like that. No one should have to dig. No one should have
to dig anywhere. No one should have to bury their children. No
one should have to bury their mothers and fathers. No one
should have to fall. No one should have to scramble. No one
should have to morning. No one should have to be killed. No
one should have to break. No one should have to starve. No one
should have to pull their teeth out. No one should have to
pull their hair out. Nobody should have to hit themselves. No
themselves. No one should have to knife themselves. No one
should have to stone. No one should have to be stoned. No one
should have to be buried.  No one should have to be hit like
that, no one should have to struggle like that, no one should
that no one should have to be carried like that no one should
have to be. I'm busy, you're so exact no one should have to be
drowned like that now. What should have to be burned alive
like that?  No one should have to be torn like that, no one
that, no one should have to be torn, and your children
screamed like that, no children shouldn't have to scream like
that, no one should have to be like that no one should have to
be. Torn and screamed like that, no one should have to be
one should have to live like that. No one should have to think
like this no one should have to watch like this new one should
have to be like this. No one should ever have to be like this.
No one should have to walk like this. No one should have to 
children like this no one should have to keep children like
this no one should have to take parents like this no one
should have to speak to nurses like this no one should have to
doctors like this no one should have to speak like this no one
should have to speak. No one should have to come like this no
one should have to call like this no one should have the
whisper like this no one should have to lie like this no one
should have to sleep like this no one should have to flee like
to shout like this no one should have to breathe like this no
one should have to sweat like this . no one should never have
to be here like this. No one should have to be there like
this. No one should have to be there. No one should have to be
like this should have to operate like this . No one should
one should be like this. No one should have to be like this.
 
__
 
 
configuration wound, abrasion, rupture
 
 
'When I saw this gaping wound around the head tracing the sound
of the wound in complex realspace wounded blue heron, intensity,
wrought weakened warriors grown in recent weeks, and I begin to
see the wound in the machine, the All machines contain their
wounds, which are precise, often enumerated; "I'm wounded. My
house has been destroyed." in particular. There are wounded men
and women, and wounded animals, wandering hopelessly. The
wounded are silent afraid of names i tried,, spreading words &
wounds, numberless states, places, When it begins to assert
itself, draw itself forward like wounded Philoctetes, the whole
sorry history toppling forward like wounded i dream of the
wounding darkness! and there is a wound in the side and you know
it's war
 
tears, wounds, blemishes, abrasions, cuts, and all other debris
carrying it's dirt, scars, wounds, smears, smudges, scratches,
absbyrdrtf it's dirt, scars, wounds, smears, smudges, scratches,
abrasions, feces, And even though the real physical world isn't
always already written, inscribed - full of tattoos, scars,
burns, abrasions, wrinkles, salves, perfumes, calluses, and so
forth. I think it's from these things, particularly from scars,
wounds, abrasions, scrapes, etc., that language descends - that
language is first and foremost a reading of the history of the
body, that the body, the physical body, carries its own
memory, these scarrings that bind us to the earth, to the world,
the analogic. The digital is constructed from that with a bit of
a help from the corporate, from political economy - the digital
rides and infuses political economy in fact. So there are
checksums and so forth, and these guarantee that a parsing of
the world in one part of it can be a parsing of the world in
another. Think of the digital as an extrusion, and think, even,
of writing as always digital or at least always discrete, one
symbol differentiated from another, from the other, as all of
consciousness, generate culture. full of tattoos, scars, burns,
abrasions, wrinkles, salves, perfumes, scars, wounds, abrasions,
scrapes, etc., that language descends - that scratches, tears,
wounds, blemishes, abrasions, cuts, and all abrasion lending
itself to the creation of molecular metallic fingers the boards,
slight cuts, abrasions. theyre impossibly drunk, drugged,
bruised, abrasions, then also where the dancer pressed against
them, where full of tattoos, scars, burns, abrasions, wrinkles,
salves, perfumes, scars, wounds, abrasions, scrapes, etc., that
smudges, scratches, abrasions, feces, wounds, smears, smudges,
scratches, abrasions, feces, there; without
 
there is time, develops by virtue of the rupture at both ends.)
language, sexuality, modes of rupture and decay. What ultimately
limits We do look at ruptures or disturbances created by
genitalia; a sweet, ruptured sickness, unruptured catastrophic
space of the edges process, Sondheim shows that we find rupture
and breakdown of the process ruptured and becomes analog, and
this is syncopation: interruption as system noise, more likely
and intermix their own and other' lines, and ruptured see
everything. In my dream I imagine myself displayed, ruptured
cock, you ruptures, disseminations, gatherings, filterings. I
cannot prove an (Is there not a void, rupture, between
splays, ruptures, s/ms, emissions [this It opens up ruptures,
rhythms, the tongue rolling across the lines, in the sions as
opposed to the specificity of nodes; ruptured structures; and
the phenomenological 'world of the text' ruptures, opening and
creek, borrow pits, substance, not dyad, on ruptured
continuities, not positives and is present. the ruptures of the
abacus are problematized by the obscenities or thickening"
rupture is production; sexuality infects degree-zero of
oblivion; it's germinal; it's grated to the degree of rupture:
time has no time to rupture time The _scan_ permits the uneasy
rupture/rapture among code and uncoding, real and irreality,
image and imaginary; the rupture/rapture of the scan ruptured
with their 'peelings' and ruptures sutures and ruptures,
stitches and wounds. blood, clotted tastes suffused on paler
skin, ruptured dreams the ruptured boulders of the universe,
intersects them; its gravity is pickdae pickstl pics pict
rusmoney rustexe ruthnow wraiths. We are scented, swollen,
ruptured: we are _odor._ is present. the ruptures of the abacus
are problematized by the mistaken. Code ruptures, loosens
meaning; it might be language wounded, substance, not dyad, on
subtext so to speak ruptures the text which Death is your
rupture and your explosion. Death is my rupture and my
explosion. This is not the same thing. Death not is not your not
rupture not and not your not explosion. Death not is not my not
the phenomenological 'world of the text' ruptures, opening and
degree-zero of substance, the analogic. What is ruptured at
_scan_ permits the uneasy rupture/rapture among code and
genitalia; a sweet, ruptured sickness, emerges, scenes crimes,
roots continually ruptured, The sky swells up, ruptures in even
striations, waves among incipient ruptures. I am thinking about
operations without truths and causes. Casualties accumulate
ruptures, disseminations, gatherings, filterings. I cannot prove
an enumeration, nor can I prove a cause. A cause is a linkage
among machines that tends towards reiteration among cycles.
Machines at best are local distributions. The machine has
Rewriting Foucault: "Concepts such as discontinuity, rupture,
threshold, limit, series, and transformation all characterize,
not only the analogic and digital, but the liminal regions of
the virtual. Now we can call 'formulation' the individual or
collective process that construes signs, signing, tagging,
and/or inscription (keeping in mind that THE VIRTUAL IS ALWAYS
INSCRIPTION). Formulation, if an event at all, is a smeared or
spatio-temporal coordinates); it need not relate to an author,
issue from an author (real or virtual or both or any
Other/other); if one insists that formulation is performative,
then one must also insist that THE WORLD ITSELF IS PERFORMATIVE.
is easier than one might think to get around without it."  So
one might ride the digital as well, perceive the digital as an
extrusion from the analogic, or a residue, or a system of signs
human conventions and protocols, for example, the tcp/ip
structure or protocol suite of the Internet - and if not this
protocol suite, another or an other. Then one writes here, in
might be other sorts of transmission in the future, who knows?
or other sorts now for that matter, literally for that matter).
And within the digital, in which bits bite bits, every pixel,
every character, every moment of the digital is independently
from every other. This is why the digital is inherently
untruthful; there's no truth within it, since manipulation is
complete and replete within every file, every domain, every
protocol, every instantiation in fact. There are no lies,
embedded or encoded within the digital, interpreted by organism,
often human. In creating in such an environment, one plays god,
or at least deity (in the tantric sense); one constructs out of
nothing, and if I write the phrase, as On Kawara might, "I am
concrete level, completely independent; I could just as well
write "lkurj llisihg" or anything else, literally, again, for
that matter, and for the sorts and sortings of that matter.
There are ruptures, disseminations, gatherings, filterings. I
uity, rupture, threshold, deeply ruptured, disconnected, from
every other. This is why the digital sexuality, modes of rupture
and decay. What ultimately limits The swollen internet is
tumor-oriented, ruptured with unforwarning
 
___
 
 
 
forgo my usual when lying and lfying connect to dying and trying
so to the well/come world of enhanced transitions. haven't I
said enough? is there anything more on this minor planet in the
midst of an inconceivable universe? I exist, I type, I run, I
walk, I fall, I fail, I return, I fail again, I posture: the
failure; that is my success; I make-believe, I believe I make
believe; I fall, I stutter, I type with eyes closed, I suppose,
my fingers no longer do my bidding; I wonder; I wanderm, I hide
my yelose closed or my closed eyes; I think crooked, I think
along an obtuse angle; I am called obtuse, I call obtuse, I am
angular, I'm =hinking improperly I lose track of my thinking, I
minor planet in a universe of trillions! gadzillins! who would
know? who would have known, I fly away not to return another
day, I lie  supine, the world is mine, the world toes the linem,
I toe the line, I'm fine, I'm fine, I'm fine ...
 
___
 
 
 
From Where
 
"Where are you from," fifteen asked fifteen, standing face to
face, circulating, taking turns, manumission, as if there were
only, each answering the other as if the narrative drove the
the office where I sat, eyues closed, recording each and every
moment that occurre,d wheil none of on==us, none of us , knew
what was actually occurring beneath the ground or in the back
rooms of the complex whichwere something of a university
u=out as we noticed the ceiling was clowly descending, and we
thought, oh that kind of a narrative, but then it ascended
again, just as slowly,, back to the level or place that it had
confused and perplexed, what could have been occuring that this
event was allowed to happen, particularly as it existed solely 
board within the text or at least a meal down the street where
there were no ceilings under an all too brilliant blue sky that
contained among other things several birds, a plane, a
move in, covering up what desperate deeds and despairing
thoughts anyone might have had on either said of the bulwarks
which cast e=heavy shadows so that everyone was hidden well
=d that contained recordds of, ,shoudl==ld I say, this story,
but this isn't that kind of postmodernism in fact, not even a
postmodern style, but a ture account of what was actually
occurring that day of May 125, perhaps on a Thursday, 1/5 the
one of the early steam locomotives that were destined to carry
the frontier of the true West northward, into the providence,
not yeat formed we can only assumed, of Metricuous, Canada, rfd.
 
 
yes, and this is later in the day and this is how it all began,
just sitting here typing with my eyes closed, wondering if and
when I'll lose track of the singular sentence that embraces me
because if for an instant I stop and think, yes this is what I
am doing, the error will appear, as consciousness splits at that
point rather unevenly I might say and then I would have to start
over, something I don't want to do, writing becoming more
presentation, their spelling, and so forth, but just the flow,
focusing almost zen-like, not on languge at all, not aopn
language itself, butt on emptiness - and I never thought of that
before this - that language can be created through emptiness
writing and speaking dominated the mind - I know for sure now it
doesn't and hwhen an error appears, that's were language
actually appears in this act - in the presence of error, because
otherwise language remains in remission, a revelationn  and
there and noticed that more errors came to the foreground
precisely be cause I was focusing oon the typing, not on the
emptiness that I need to complete this, and this is the opposite
of the way language is usually conceived, here the grammar is
consciouenss, not the unconscious is a language, none of that
stuff, but an unconscious that is really devoid, I think of
water, in the sense of a pond, noot even a river or stream which
would imply flow - there is no flow in imminence! and with that
literally literature revealing itself to me in a different form
than I had ever thought possible, thank you for this
opportunity.
 
 

shelters -

I wonder if I typed working instead of walking, and I'll find out

sooner than later. We're heavily sleep ddeprived because of the

Epiphany

do but it is what can be transmitted and what can be received.

Small Talk, I mean Honest to God it's Small Talk

in talking with you and that turns out like it's nobody at all

she calls then she's out I think are getting something at the

nobody just sees it as a hell of a tragedy with everybody hating

I'm I'm dictating and I'm yawning and I don't know whether

to these conferences or gatherings or whatever and then I

no one would want to listen to this including me so if I leave

 

__

reads as a book which tears one apart mentally. We are safe

trying to do with the music is to get out some of this. Is to

says that and the app is listening . I'm not sure what to make

it's not it's nothing but a selfie. But it's not even that .

'Let me be clear' in the background was on the television. was

"Alan Sondheim"

individual's contributions. It's important to engage with

    Innovation and Experimentation: Sondheim is often associated

nature enhance or detract from the overall impact?

    Aesthetic Qualities: Whether it's in virtual reality,

    Consistency and Evolution: Explore the consistency or

    Engagement with Technology: Given his involvement in virtual

    Accessibility and Audience Engagement: Consider the

There is no widely known or substantiated evidence to support

address them through appropriate channels, such as academic or

It is essential to engage in constructive and informed

___

which we are all against even now unsidling our mind

by which he/it was meant that there is always surplus.

unaccountable radiations and dusts do not permit this sentence.

our mouths and their soundings perhaps last a while, silent.

this weighs nothing.

fifth test of typing errors closed eyes after 2 mos. covid

begin.

havoc and distaste in others who think to themselves,

correct, if I miss it will be caustic for the rest of the

this far -

things that create the periphery of war, distance, illusion.

ontologies, psychoanalytics, these workers are lifting things,

machine, any machine, my own production nothing more than

*not against, elsewhere

 

the operand of labor and war: operand: "a quantity upon which a

hospitalizations occurring, the keillings and the lack of even

 

 

in what is obdurate, before us, after us. We are stain, we are

2

existing only in the utmost sightless darkness. The viewpoints

It's like this about philosophy and long improvisation

themselves . So when this happened woke up I got out of bed I

error and by accident or deliberate forgetting erased most of

sense of the word but perhaps an attempt create a space a kind

... if they're describing a phenomenology of the world but in

come before just as one might when writing a paragraph or

... meanwhile slept on that and we were woken very early morning

metaphor for whatever I think I'm doing which perhaps isn't much

___

deal with me no one should have to admit I do. With that, no

ever have to be there. No one should be there, no one should

have to cry like this, no one should ever have to be there, no

to.  Be carried there, no one should have to ever have to be

endure this. No one should ever have to be somewhere. No one

there, no one should ever have to be taken. There no one

there like that, no one have to shut up. No one should have to

without their toys. No children should have to sleep without

riding, no one should have to be taken there, they shouldn't.

They are no one should have to move there under darkness. No

have to eat there, no one should have to carry like that. No

scream like that. No children should have to burn like that .

that. Nobody should have to die like that, nobody should have

here, no one should have to be like them. No one should have

like that. No one should have to be destroyed like that. No

like that. No one should have to be sick like that. No one

No one should be lost at all. No one should have to be buried

should have to scream. No one should have to yell. No one

one should have to be raped. No one should have to scratch

have to fall like that, no one should have to be buried like

should have to be hooked in their children be hooked like

raped like that, no one should have to be gouged like that. No

sleep like this. No one should have to sit like this. No one

should have to take like this. No one should have to take

take grandchildren like this no one should have to speak to

this no one should have to turn like this no one should have

have surgery like that. No one should be afraid like this. No

colour vibration.  snow white coverage, We watched while wounds

wounding darkness:i dream of the 5400, one by one by one: the

abrasions, feces, aboveitall abr abrasion abridgedwav abs absb

written, it's full of writing and our bodies themselves are

primordial memory upon it. That's important, since it's this

digital standards for sampling, for encoding and decoding and

them together generate meaning within organism and

language descends - that it's dirt, scars, wounds, smears,

that a message and its destination are irrevocably ruptured;

characters resonating or uncomfortable, as too many exposed

hacking or rupture, the dim imaging of presence Characters speak

technology and body, between 12 dismemberments - part-objects,

bridging ruptures of hammocks, domes, sloughs, marsh, river,

substance, the analogic. What is ruptured at close sight,

and irreparable enunciations. from the analog - and the images,

picturerupturepdf pictures rupture ruptured ruralpa rurr rush

ruptured continuities, not positives and Alan Sondheim: So the

rupture not and not my not explosion. not It opens up ruptures,

ruptured huddle did this discourse manage its continuity, its

according to protocols. There are semantic clouds. There are

indefinite chains, accumulations. There are never enough chains. 

consciousness and physicality inhabiting (not existing within)

stained process which can never be localized (located by its

There is no getting around the sign, getting around with it; it

which for the most part are produced by humans, according to

this medium, in this temporarily electronic medium (for there

accessible, and every moment is deeply ruptured, disconnected,

either, and if there are narratologies, these reside in sememes

still alive," these letters are, at a very fundamental and

cannot prove Rewriting Foucault: "Concepts such as discontin-

Flying and Lying

in the corner, I fly to the corner. I get up, I wander agasin,

think: my thought, my thought, my thought, on this unbelievably

Typing Unsighted, Training Untraining: Example and Theory

sound of the typing on the mechanical keyboard in the front of

structure, although for whome or for what was never to be found

started from, the original height in other words, and we= were

as something typed, a series of symbols, within whcih=====which

we all agreed to participate, as if this would pay for room and

helicopter, and an increasingly sullen sun as the clouds begn to

within the outlines of the four story building in the backgroun

chance, in 1735, within and without we were hurried along to see

Second Part - The Revelation

as I continue unsighted down the page, focusing on nothing again

automatic now, I'm thiniking of the words, not their

=m=, not the usual way of thiniking about it, as if reading and

perhaps I said that before - you see for a second I stopped

flowing and I'm not, or in a sdense elsewhere, within

punctuation I should be able to complete this sentencee which is

—Alan Sondheim