[NetBehaviour] Ontological Banding

Alan Sondheim sondheim at gmail.com
Thu Oct 28 19:21:19 CEST 2021

Alarming it is and breathtaking as well. The desiccation of the Great Salt
Lake doesn't affect drinking water or the cities directly; it's far too
saline. But the wider ecosystem as a whole, of course, and hopefully fires
and storms won't increase in ferocity in the N.American west in general -

Best, Alan

On Thu, Oct 28, 2021 at 1:18 PM Edward Picot via NetBehaviour <
netbehaviour at lists.netbehaviour.org> wrote:

> Alan, I skimmed through the video, but the landscapes are completely
> breathtaking - and at the same time, the dryness of the landscape looks
> very harsh and alarming.
> Edward
> On 28/10/2021 05:14, Alan Sondheim wrote:
> >
> >
> > Ontological Banding
> >
> > http://www.alansondheim.org/banding2.jpg
> > https://youtu.be/oWgD6V8t_zA video
> > http://www.alansondheim.org/banding1.jpg
> >
> > So this is referencing and returning to the great Salt Lake in
> > Utah and we have traveled there to look at the extent of the
> > damage done find E drought that is in so many parts of the
> > United states at the moment . This is dictated which means there
> > is a limitation to what I am saying in an expansion to what I am
> > not saying. I stop and take a sip of coffee. All of these images
> > and videos that you might or might not see or the result of a
> > trip to the Saltair area great Salt Lake today . We have been
> > there before. We have been there quite a few times period this
> > time it was to look at to drive flats that's around the
> > contracting lake . When interest me in all of this is that
> > traces of animal and plant life. But also the horizontal.
> > Horizontal is critical it lies in bands . I use the boatswain's
> > whistle to create very high pitch tones very loud tones they
> > were then reflected off the building and came back to me and
> > perhaps to you . They echo and reverberate after palace of the
> > Saltair . There were birds in the distance. We've identified
> > them as a form of green. As a form of grief. As a form of grebe.
> > You see the dictation itself references other things dash and
> > expansion of language and a contraction of reference . The great
> > Salt Lake itself contracts and expands. Its usual depth is 33
> > feet. It's current depth which was a record at the time back
> > when is 23 feet. In less there is heavy rain and snow in the
> > catchments we will again be going for a new record lower instead
> > of just equaling the older one. When I say quote we quote will
> > again be going for a new record and so forth I'm aligning myself
> > with a false knowledge. I know every little about the geology,
> > biology, and ecology of the Great Salt Lake. I am not from here.
> > I have no history here. Given dad karma given that, I am really
> > riding on echo- collocations of recognitions from other sides ,
> > other places and in fact other worlds . I stopped to take a
> > drink of coffee . I look out where the capitals are here and
> > realize I will have to return to return them to their proper
> > grammar grammatical positioning.  The light's boundaries expand
> > and collapse of course in relation to the weather in the
> > ecological conditions over a period of time .
> >
> > What I am most interested in, however, is the horizontal, bands
> > and interruptions, contusions, ephemera. So many markers of
> > history and traces of natural phenomena that may not be
> > "natural" at all in the landscape, in the land. The land is now
> > inconceivable without the construct of "civilizing" enterprise.
> > You can tell at this point that auto-dictate has crashed, voice
> > to text no longer exists, what you are hearing as you read this
> > in fact is the result of physical labor, typing on the landscape
> > of the keyboard, facing the horizon of the land.
> >
> > When I filmed and photographed today, I thought, this is the
> > perfect landscape for me - this is where my thinking belongs. (I
> > can't emphasize this enough.) I thought this and thought this
> > absolutely, thought which is lateral, punctuated, interrupted by
> > buildings and vectors of transportation, diacritical marks that
> > form the basis for my thinking, perhaps for thinking itself,
> > thinking without a body, thinking without a body (within a
> > body). That is it, no ontology, or ontology on the run, a form
> > of dromadology, the rush of thought. And so it is the rush of
> > thought : ontology = movement, not the ontology of movement nor
> > movement ontology, but movement as it would be said to itself.
> >
> > My thought (to which I lay no claim) is _ontology povera,_ not a
> > poor ontology, but one compressed, the result of debris, global
> > warming, striations, industrializations, remnants. The film -
> > for I think of it as such - is just that - _a band of remnants._
> >
> > It is not to be watched, or rather to be watched, in any order,
> > time forward fast flow backwards, or the still image of the
> > first or perhaps the last frame. It is the band cartoon musical
> > of the world. My role was just the recorder.
> >
> > (Forgive my arrogance, O Beings of Sloppiness. I rush to
> > complete the thought before it is over; I am mistressmaster
> > of denouement. Should it end here? did the journey? Am I
> > still alive? You, my fixation, matters; you, may fixation,
> > matters at all.)
> >
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