[NetBehaviour] */ytalk collaboration between Maria Damon and Alan Sondheim

[Alan Sondheim]

*/ytalk collaboration between Maria Damon and Alan Sondheim

http://www.alansondheim.org/mocapdance5.jpg (Azure Carter)

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I'm typing here, does it appear with you? hello my name is
Vetrix Morganthal why am i here? you're here because I brought
you here ;and what per urpos we can ously me time, simultaeously
in into the bodyof hte the text - we need to continue in this
fashion, there's no e?i r ?i rea; me time, simultaeously ininto
the body n this fashion, there's no time for jave no idea amd
i'm making too many typos beb they' not used to the sign signs d
of ;body ard! keybo

keyboard help help me time, simultaeously ininto the body n this
fashion, there's no time forthe we can see if th ! i'm i'm ntin
ing to ke up with some semblance of sanity seri

serious iousn there' ;thi ;g lie that that e, nothin lines kind
of me time, simultaeously ininto the body n this fashion,
there's no time forthe tigo i'm experienci here.

divides ing ;s con r and among oth over ;ong ing, plac gree ;...
it's as i'f igno ignore the gre ving nore the gree and t n this
fashion, there's no time forthe ntinues, ? he light is gree but
it's caus as I ;me ;o c ;ime pposite d c ir NORANT anyway , NO
-RANT coll collu a gr ;means ntinues, ? that here, nothing above
or below the uously thepurpose, medi e of where m lights he ers
sh ur f ;  fingers ;ere m ;  shou , where r eye ;ear just let
calk m down uously forms of writing, other places, other ore the
green! and do calm rings leasure ;  pleasure. ;of course, hich
;aig easure as fo d for some, clamp k into s others ;nto ce, b ;
monst htene d, l ing forms of writing, other places, other ore
the green! the opposite of ignorant ir NORANT, NO ;ching ressure
ssue hat coul poss possibly uare thinking doing? over there ;in
your corner? not not c ;ut ab or b ase the intermediary lines,
lights her

  mind is, where our eyes are our eyes. , which brings pleasure
as food for so neither ;to ;the ler or the your mediar y, s
where in the mids ;thi things fast unde under r than i can,
wending undere around my ;  clum sy v ce, back straightened,
losing pressure or below you ;ehicular letters ;word s are roun
ound, n ot among I tell you about the tunnel? wher where
thepleasure ;hicle the pleasure e ve where the pickes les, or
below you r the right, but intermediary, somewh reaten. where
the jams? ;where the t ;art i sk i ski and go raight to haus
tion this b ;  where ;  hummer dr star starv ;death ge f anor
anorec with witho ;recom no d no drik ? the pleasure of the
vehicle? the tis go straight to sleep, exhaustion, this h in a
land of doll ? why are you thou thousa ;of hing e tru in a ;ion
o warming ;dollars = inedibility, uding me, so ind of l coin
already tering glob global m ;arket pl dural elud eludi clarity.
It s oka okay ;rt f concrete to e to ex of f of fo ;or feel for
for t

  nothing to buy, the desrt-fashion, gl , held up by blockchain
bitcoin alread ;that gives me ;r s
  keep moving my

fingers it's a form o The takes les are tw rgh... form neaver
dicism... ;spoken alou oncrete value ;d. T movi movin amon insi
, later, clash, transfor not not a mind ;... , that s the the in
ward of t
  mare outh, inwar ;re o hsap marvle . form of nomadicism... rds,
which might, later, clash, transf shapes a marv es. . form of
nomadicism... rds, which might, later, clash, transf

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#2.

qI'm typing here, does it appear with you?
hello
hello
my name is Vetrix Morganthal
why am i here?
you're here because I brought you here
;and what per

urpose we we can c am t ;y o ;p ;e at the sa p me o t s i s m i
e, si bl mu y l ser ta v e e ously ? ininto the bodyof hte the
text - we need to continue in this fashion, there's n i o t ime
r ea;  f ;  o u r jave no idea amd i'm making too many typos beb
they' c re a n u o se t ty i p ' o m s not used to the but s i
sig s sign s k o i f nd ; of ;a bo k ;dy e at y w b ork pa rd!
keybo keyboard help help!! we can see if t i ;his ' m c ontin t
r y ing to ke ? ep up with some semblance of sanity seriou t
serious th n there' ;e ;s ;n ;s ;o ; ;th ;n ;in ;d ;g lie that
;g ;n lie i i ty

   a tha b hat u at t t he here, nothin i g t ' a s b a o ve v or
e ry b el st ow r an th g e e lines kind of ve - r tigo i'm
experiencin i g t he here.  j .  u .  st .  di ; vid ;w divides
;r ; ;i ;t ;t ;h ;i ;i ;n ;n ;g ;g ;s con b t e i t n we e u n s
ly ove r and among other ov over l e a t nd te ;a rs ;mong ;o a
t n h d e r f f or a m l s s o h f i w n r g it ing, f la o s t
h he i r n g plac es g , r o e ther green fa l s i hi ;g o ;h n
;t s ;s . ;...  it's as i'f ig a ign s igno r i e f the gr i ;e
' ;e m ;n , d i r g i ving nore the gre e a n nd the light is
gree ! n ;r ; ;r ; but it's as c causi ng ;m ;e o ;t i ;o ;n ;c
; ;r a sh sa y a ; nd

  ;a c ;n o ;y l ; l ;t i ;im d es, e t a h n e d c o l pposite

  o l n l or ud an e nt t ir NORANT anyway , NO , -RANT ;r ;r ;
i' c m co lo coll si u ng s ion a gr ;means i we p o n er the a
p s ur ;r ;r ; thepurpose, e ;i'm th l e o i si n n t g er

   med a i a s r e y nse of l where m li y in f ne in s e , r s
lights h ere , g ers sho w uld he r b e e y

   our f a i n n d g e w ;r ; ;r ; fingers h ; er ;a e ;r ;e t ;,
he ;w y ;here m s y h o ;r ;r ; shou m shoul i d nd go is, wher
;.  e ou ; r ey ;o es ;h are ;d ;ear o ur g o e d ye s pl .
ease .  .  just let me c ;r ; ;r ; alk m down ca and do cal wh
calm at = b rings c ;l p ;am leasure ;r ;r ; pleasure. ; ; ;of
course, ;St w ;r hich ;aig hte b n r t in he gs b a pl c easure
k as , foo d for some, clamp sink into s - pa p c in e g , f or
o v o e t r ;r ; ;r ; others com , e ; ;s t ;u he ;n ;k o ; ve
;i r ;nt e o a t t ing .  pa ce, b the a c m k o s n tr ;r ; ;r
; mons a monst i e g r htene ; d, l ;en o ;c sin ;r g ;o p
;aching ressure o h n e r m e y , ti ssue wo hat coul .  d .
po . ;r ; ;r ; poss ibly a ; nd ;e ;m w ;e h ;r at ;ge you ;?
are ;r ; ;r ; thinking doing? over there ;r ;r ;in your corner?
no w not ha t c a or re ne ;r yo ;b u ;ut a m b a o k ve i ng ro
/ f b e e e l l o i w g you ;r ;r ; n , ne neither v ;t e ;o the
ft or the o ri v g e h r t , th ere

   u in your b u p t e in r te c rmediar h y, ?  som ewhere in
the mid t s y t of ;r ;r ;th p thin i gs n , g ;s ;o ;r ; ;r ;f
;m fa ;at fas ;i fast ;c faster ;, un t d ;ha er ;n e ;i a ; ten
;ca . n ;r ; ;r ; , und t unde h r ink e in as g ;t fa ;e s ;n
ter ;.  than ;r ; ;r ; i can, wending y u ou un r und under w e
o a r t d ;e s ;n around my ;, clu ;r ;r ; clum ; clumsy
vehicular letters ;n , ;o ;word a s are ro u n d, m t s hr i ou
e gh r a t n h d a n o a t mong he s r t s t , he d m i , d I
tell you about the tunnel?  where ;r ; ;r ; i w s wh whe t where
he t p he lea ;v sur ;r ;r ; thepleasure ;e ; ;hicle ;w ;h cle w
;ere wa was the ? the pleasure c o u f t m he ve ber h s i o c m
le e ?  cu t c h u e m ti b ss e u r e s ?  ? ;r ; ;r ; where
the pickes les, where the jams? ;r ;r ;where the ta i ;rts i ;,
i sk w i he p r e o t ;v he ;er ; t ;f o ;o r ;o t ;d s and go ,
st a raight to o sl w sle h slee er eep e t , h

  e m a l usti f stion ea ion, s on, a n, this b n e c c e om , e
s a w h d er r e e am the wh ;r ;r ; where o ra I n ; ge ;a ;m h
;:  umme ;r ;r ; hummer ;r ; ;r ; dr s ;i st ;ve star ;n v ;b i
;y n g t ; h ;t e ;o ;death o ;r ; ;r ; ran a g an e fo ano o
anor d ec ?  ti ;c ;r ;r ;w w wi h wit y with o a u r t e ;
;reco y ;m o ;p u ;e s ;n t s o e ;r ;r ; no r no drik v n ing k
to ;i d ;n e ; a ;s th in a land of ;i do ;g ;r ; ;r ; ;h doll t
dollars ;r ; ;r ; ? why are you t m th in thou im sa a n l d i
;s n ; a ;of l ; a ;d n ;o d ;l o l f a e r x , ce s s s ? w h ,
y not hi a ng r

   e to y b o u u y tel , li th n e g d t e h s e tru r t t h -
;r ; ;r ; f in as in h in a i on na , ti ;on o g ;f l ; o ;l ba
i ars ?  l warming ;r ;r ;dollars = inedibility s o me t n g i s
e oc l ck uding me, so c me h a k i i n nd of l ogi b c i l t
coin already

   fl ateri ring o o n th r e g ;r ;r ; p glo r glob o al m cu
;arket pl ac e e ;r ;r ; dural ;r ;r ; elud c ludi cl udin
clarity. It g ;'s ; ; ;an ;o ;y ;k ; a ;so y ;rt , of concrete
i'm f get e tin a g l u u e sed ;r ; ;r ; t t to o to th to e is
x pa c n h i an c ;g k ;e y ;r ; ;r ; fe o e of l of i of f n o
g od , ; ;or t ;w he ;at ;er ;r ;r ; feel f i fo n for g t that
;r ;r ;gives me ;rea le ;s ;s ;o ; ;n ;o ;r t ;s o ;o ;ngs keep
moving my ;r ; ;r ; fingers it's .  a form o The takes ;f ;

  les are tw ;a ice rgh... form - told o f b n u om t a i neaver
dicism... ;r ;r ; ;r ; ;r ;spoken aloud. T m ;h mo e mov y movi
n ar g e amon t ;g o ;t l ;he d s e insi d w e o , r d i s n th
, e w m h o i u c t h h mi ' gh s t , later, clash, transfo i r
n m w ar t d he m ape s r el t v u e r s e , o , r

     i n nt ;r ; ;r ; o not th a e t al m ;l i ;r ;r ; mind ;...
mind, that s ;r ; ;r ; ;ee t ;s th the a in l war l ;a k ;p i ;e
n ;r ds ;t o ur f e of m t a h r e e mouth, ;r ;r ; i e inw l
inwa o r u d s

   a h ;p s ;e p ;r a ;t e ;u s ;re of t h e m ind , hsap ;r ; ;r
; es marvl e s shapes a nd n l i s ght !  mare ;r ; ;r ; s.  ;
?l

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