[NetBehaviour] Silence of the Avatars

Alan Sondheim sondheim at panix.com
Sun Oct 16 07:57:33 CEST 2005

Silence of the Avatars

The actant or actants' aesthetic aether, Alan, exists within the class of
alterities, or Alterity. Amidah's analogic app appears as apperception
within the aristotelian logics around. Think of the audion; audiophiles
consider the authorial in relation to it, as if an avatar or avatars were
on the other side of the virtual. Their bio? Varied biomes - found in
blogging, blogs in general, even real-world bookshops. A kind of bricolage
postulated as bushido. Castrated avatars exist as chiasmus within the
chora - circumlocuted on one hand, but steady-state circumscription on the
other. Their clits are clots within codework, their codeworks menses or
coherencies, collocations complicit with consciousness - consensualities.
Their cordons, their cunt or cunts cordoned off within the cybermind,
cyberspace. The cyborg or cyborgs are sexual - for example d'eruza and
d'nala in dancework, the decathexis of all non-sexuality, their bodies
deconstructed. Deconstructing deconstruction is hardly necessary; the body
self-deconstructs. All sorts of releases: deerflies for examples. This is
defuge, the exhaustion or denudation of the desiccated world and its
destabilization - both diachronically and synchronically. Diachrony works
as diegesis, the diegetic of inexhaustible virginity. This is the
differance among cock and cunt, the differend of the flesh, unspoken and
unspeakable, disassociating discomfiture. Certainly the reader, by now
discomforted, is staked through disinvestment, tallies distantiation. The
world is a world of distributivities and ecologies, effusions and
emanants, their flesh folded around the labia and emergences of others.
This is a form of empathetic, worlds and words empathized, in order to
annihilate all existence and its a priori encapsulations. On one hand, the
entropic - on the other the episteme, carried by ethernet from Everglades
to other experientials, biomes, extasis. The actants' extensivity and its
externality tends towards extinction of desire, extrusions of language and
its inherent familiality of the fantasmic. Consider fantasm a feedforward
fictivity, involving filmmaker and filmstock alike, sound and fingerboard,
the Foofwa-actant dance and its genidentity in geomatics. Gesturally,
these exist, as now, in gigabytes, gridlines defining one or another fuzzy
habitus, their mathematics within halfgroupoids. An explosion of species:
hir hirself, through hemiptera and the historiographies of holarchies in
virtual hyperreality. Cyberspace and hyperrealities are already
idealities, the ideogrammar of the ikonic of the imaginaries, all that
exists within the 'might-be.' Denied by language, immersive subjectivity -
immersivities of real incoherency - literally incompletes indexicality's
sectioning of informatics and inscriptive interiority. Within the
internality of the internet, interpenetrating flesh and avatar,
interpenetrations of actant of programmatic introjections, tend towards
the iconography of Izanagi and Nikuko - the debris of java, javascript -
Jennifer, too, the Jewish locus of jouissance and judgmental Julu. The
kanji of the world wraps around koans, kwat! - Lacanian landbirds
languaging all, a latinate lifeworld liminal among silences. Literarily,
nothing philosophically occurs. The result, machinic magatamas of
malnourishment and the overly-wrought manifesto, part and parcel of
mathematization, mathesis collapsing in mediaspace. Isn't the world
menued, microworlds as well, minefields of inconceivable mythological
minefields? A moron morphing, its morphs, through ideological
multiculturalisms, surely. Nikuko and others were situated in Nakasu-
kawabata, nowhere near Nara, closer than the secondary narcissisms of
narratology and its neighborhooding neurophysiologies. Because it's there
that falsehood resides, from newbies through Nietzsche, from Nijinksy
through fucking Nikuko. Nikuko's nostalgias are worldless, absenting
objecthood, her oeuvre offline, off offline as well, her ontologies
organelles. Nikuko's particulation, call it her _paysage,_ voyeuristic
peerings tending towards performativity. The fundamental grounding of the
world is periphyton, phantasms, according to any phenomenologist, derive
from it. Ghastly playnt of the pneumosphere and its poolings. So the
postmodern academics arrive, their terminological postmodernism, post-
modernity, whatever, presencing any presentification, according to their
notions of prespace and primordials problematized. Worlding problematizes
problematizing, also considered protolanguage, the psychoanalytical
backdrop to thinging, the psychoanalytics of realspace rearticulation.
Nikuko, Julu, Jennifer, their rebirths and regiments - reifications all,
their bodies reinscribed - a process in fact of uncanny reinscription -
into the releasement of the world. There, everything - rills, rotifera,
runnels, the satori of sawgrass, the seamount - in fact the sememe of what
circumambulates the natural - linguistically collapses into sememes of the
other (all sememes are of the other), the backwards and atavistic field of
semiology, as if semiosis always tended towards the configuration of
semiotics. We have only sexualities to consider, shakuhachi or shamisen
vertical expostulations of the sheffer-stroke, stroked themselves as
culture collapses once again into flesh. All sorts of magic prevail - the
shimenawa for example, or 'shithead' signifiers of obscenity, simulacra of
body-skeining, collapse. Body skeins are soundwork, murmurs and speakings
of the world in the face of specicide, stentor and stromatolite for
examples. This is the urgency underlying structuralism and subgroupoids,
the mathesis of subjectivities, subsonic subtexts just out of hearing.
Subtext or subtexted, the world moves from object through process, both
united in avatars such as Susan Graham, symbologies of whoredom, in
synchronic extension with Nikuko and the 'others.' This is systemics,
taxonomies of techne, teledildonics, the filmic mediation of the real
which is the real and its teleologies, always a temporality of the subject
and its tendrils of the pre-symbolic. Tern biomes on one hand, on that
'others,' tessellations, the registry of bodies in thanatopoesis and
already fallen tropes. The typifications of unfoldings are all we have -
unhinging of language already inconceivably tethered. Avatars bypass
valium vicodin, in favor of purified videowork and its virtualities - the
VLF (very low frequency) subtext of the world. Think of voiceovers as the
remnant of what might be said, waypoints or websites of wetware. The
wetwares of willets and other shorebirds - again, varied worldings, forms
of wryting themselves into the circumscription here attained, as if I were
a yamabushi descendent, moving sullenly, sitting in silence, zazen ...


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