[NetBehaviour] The Eternal Exercise And A Comment

Annie Abrahams bram.org at gmail.com
Fri May 7 13:30:38 CEST 2021


Dear Alan, thanks for describing the roots of your practice.
It is good to know!
(Thanks Johannes for reacting and the greetings - Hi Johannes)

Now there comes a second question to my mind:
Why continuously publishing your practice? This is not meant as a critique;
it is an honest curiosity.
For me it feels as if there is never a "period", never a release from.
I sometimes envy your continuity, your stream of words, but when you write
the process can also give you anxiety, I want to say: "Alan, you don't have
to; "periods" exist."
It seems to be the question of the audience, the adress
Something I read today seems to resonate:
"... moins que la langue "communique" plus elle se fait *intensive*, c'est
à dire adressée. Nous appelons "*adresse* hétérolingue" l'intensité qui
parcourt "la langue" de part en part pour la tendre vers un destinataire.
Contrairement à la communication, l'adresse n'implique pas la réussite de
la transmission du message : c'est un pur geste tendu." Myriam Suchet
*L'imaginaire
hétérolingue* page 129.
(... the less that language "communicates" the more it becomes *intensive*,
that is to say addressed. We call "heterolingual *address*" the intensity
that runs through "the language" from one side to the other in order to
reach a recipient. Contrary to the communication, the address does not
imply the success of the transmission of the message: it is a pure tense
gesture.

with love and respect
Annie

On Thu, May 6, 2021 at 12:57 AM Johannes Birringer (Staff) via NetBehaviour
<netbehaviour at lists.netbehaviour.org> wrote:

> dear all
> thanks Alan for your exquisite, resonating poem, it has internal rhyme i
> have still to figure out, so many referernces and beautiful images;
> well, enough, everyone knows we are friends, and also collaborators, so
> that, i think my views don;'rt count. Annie's question is odd (Hi Annie,
> greetings!)  and yet stimulating; ask a painter why they walk into the
> studio every day ....well, to paint!
> And your reference to musicians, Alan , is well taken, as are the
> references to writers like Klemperer Knausgaard, or the sleepless Aby
> Warburg or the sleepless Hella Pick who just published 'Invisible Walls"....
>
> Well, i have nothing to say, except respecting Alan's daily poetry and
> music and the jpgs very much, almost now for me, for a few years i think,
> since our ISIS "writings" and blog back then, a recording task. I
> record/archive what you send us, I sometimes show it to students, sometimes
> use your acoustic music in my dance, sometimes curse the times in which we
> cannot support our collaborations more, or see you have grants and
> invitations come your way more.....
>
> But I also meant to write about memory, years, parents, old homes, lost
> times, and had wanted to share a passage from Frank Witzel's new memoir,
> "Inniger Schiffbruch"  (maybe translatable as "Intimate Shipwreck"), but
> it's too painful, dealing with parents who died and are dead, memories
> coming up, re-memories, old notes, super-8 films, flashing up, reverting us
> to strange questions (was is Pam Zhang who asked, "what makes a home a
> home", in her "How Much of These Hills are Gold?"), about us, providences,
> determinants, coincidences; and our ancestors, yes, shadowy figures, and
> why we stay up at night writing..
>
> regards
> Johannes Birringer
>
> ________________________________________
> From: NetBehaviour <netbehaviour-bounces at lists.netbehaviour.org> on
> behalf of Alan Sondheim via NetBehaviour <
> netbehaviour at lists.netbehaviour.org>
> Sent: 05 May 2021 22:42
> To: NetBehaviour for networked distributed creativity
> Cc: Alan Sondheim
> Subject: Re: [NetBehaviour] The Eternal Exercise And A Comment
>
> Hi Annie,
> It's a practice that keeps me focused; I have what I call 'waves' of
> content that flow through the sections - for example analog/digital
> phenomenology / gamespace/edgespace/blankspace / splatter semiotics / etc.
> It's like meditation; I learn from the practice and honestly have done this
> most of my life. Early on I was also influenced by Delta Blues music (and
> was at times close to people like Al Wilson through whom I met Son House
> etc.) - and I soon was listening to 60s-70s free jazz (people like Albert
> Ayler, Archie Schepp, John Coltrane, and so many others) - and almost all
> the musicians I know practice/play/think/produce/ etc. every day - it's I
> think a different way of working, I have to keep re-inventing myself in a
> sense, but also paying close attention to what I think might be valuable or
> somehow true at times, and then question those underpinnings. There are
> diarists like Viktor Klemperer and Kierkegaard who have also influenced me
> - daily writing... And from people like Kristeva and Irigaray I was also
> inspired to think more about embodied art, which is daily practice; most of
> the artists I knew early on like Vito Acconci, Rosemary Mayer, Bernadette
> Mayer, and so forth were also constantly producing. It's somewhat of a work
> ethic I think as well.  --
> Hope this answers somewhat and thanks for asking!
> Best, Alan
>
> On Wed, May 5, 2021 at 5:24 PM Annie Abrahams via NetBehaviour <
> netbehaviour at lists.netbehaviour.org<mailto:
> netbehaviour at lists.netbehaviour.org>> wrote:
> May  l ask Alan
> What was the reason for starting to produce work at a daily rate?
>
> Best
> ANNIE
>
> Le mer. 5 mai 2021 à 22:23, Alan Sondheim <sondheim at panix.com<mailto:
> sondheim at panix.com>> a écrit :
>
>
> The Eternal Exercise And A Comment
>
> http://www.alansondheim.org/gonedays.jpg
>
> What am I hearing it might be God
> fearing the stallion is rearing
> the forest is dead where am I
> going the sky's blowing red the
> people are ready the horses are
> fed where have I been in this town
> of grey sin in this town where the
> weather's unpinned where the
> horses are in where the stallion
> is ready where the horses are
> rearing and the forest is dead.
> Sometimes there's chasm a sight of
> a plasm where's the flesh isn't
> messed and the samples go lie and
> this sky is darkling and the
> plasm's a storm that always means
> harm and the cyto is psycho and
> the horses are no go and the
> horses are carrying bodies in
> babies up to the sky up into the
> sky. What am I seeing it might be
> gone fleeing the stallion is
> winning the forest is gone where
> am I going the wind is no more the
> people steady to go down to the
> Weir. Where is the Weir where the
> canal was flying into the sky with
> the horses and chasm where is this
> site have the people who light
> down by the forest for the trees
> are all burning and the horses are
> churning in this dream by the
> river in the river by brook in the
> fountain in in the sea in the sea
> in the ocean in the lake of the
> ocean in the lake of the ocean
> where the horses lies sleeping and
> people are weeping at parties in
> babies are up in the sky and
> falling and sweeping the seeds of
> the rye and the wheat that
> surrounds us and the lost people
> hound us where the horses are
> tossed and nothing is left but a
> weir way down there where the
> people in steeples steeples learn
> how to fear when they go down in
> the forest and the ocean is messed
> and the horses are blessed hands
> up in the sky the lake of the
> ocean is a sound of the cry from
> the horses and bodies and babies
> who fly.
>
> I've been thinking more and more about this process of creating
> daily new work; I've been doing this for 27 years now in a row.
> It's been a scaffolding but it's also been a source of anxiety
> since it's difficult to come up with something new on a daily
> basis; for all I know I may be repeating myself incessantly. The
> result, combined with covid, is an out of control anxiety. Part
> of this is a fundamental lack of community here in Providence,
> which has been going on for almost eight years; part of it is a
> real lack of funding, which in my (equal lack of a) profession
> results in an inability to carry out the work I want to; as you
> know - I was adding this all up today - for the first time, I
> have no real adequate still or video camera for production, and
> no chance of getting these (I've always worked otherwise, with
> good equipment, since 1969 or so) - so there's no VR or AR work
> coming from my end, no potential collaborations at this point.
> The last actual grant I had was something like fifteen years ago
> which gave us tools to work in West Virginia at the Virtual
> Environment Lab. Since then, there's been no funding, which sends
> me constantly back to things like linux, work with acoustic
> instruments, text manipulation programs and the like. (Medicines
> cost for example.) If anyone has any ideas at this point, please
> let me know; I'm certainly not going to be getting any other
> grants or faculty positions or stipends etc. I'm constantly
> trying, even now, to get a book out, based on my production and
> theory-work (such as it is), but I think I carry the stink of
> failure around with me that undermines everything. At least we
> owe no one any money, and I keep going at this absurd and
> somewhat baleful task of continuous production.
>
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> --
> =====================================================
> directory http://www.alansondheim.org tel 718-813-3285
> email sondheim ut panix.com<http://panix.com>, sondheim ut gmail.com<
> http://gmail.com>
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