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Alan Sondheim
Attended Brown University
Lived in Kingston,
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Alan Sondheim

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cawwac yzarc-t

http://www.alansondheim.org/cawwac1.png
http://www.alansondheim.org/wacwac.mp3
http://www.alansondheim.org/cawcaw.mp3
http://www.alansondheim.org/cawwac2.png
http://www.alansondheim.org/cawwac3.png

saw ti ,raey siht crazy ekil etorw I ...dna dnuos eht dna leef
eht devol ;laretil reven saw ehs ,dnah eno eht nO .toob ot crazy
dna leimelhcs ,em eht ,stoob evisnepxe fo gniraew eht ,toob ot
crazy dna leimelhcs eht s'tI gninrut ,ereht crazy kcuf dna sw ll
h dna stekciht tni dnu rg eht htaeneb snoitide hguorht crazy nur
i sa snialpxe siht tub krow fo paeh a si siht atnecalp_LATIGID
ot noziroh eht :fo htiw :fo eht nus crazy eht crazy nus sa
redniamer eht si ot crazy eht eht hcihw fo=gnieb ## ## ## ##
redniamer ## eht si ot crazy ## ## eht eht esrow era yehT .dab
ton era sgnag ehT .won drib a eb ot crazy eb dluow gninrut
,ereht crazy kcuf dna sw ll h dna stekciht tni dnu rg eht
htaeneb rof ti desu ev'I ;siht teg ot crazy ekil dedart I !woW
.noitide ht6 5871 elttil rehto't crazy nrow 7991 sallad eoj
yrrej edona retirwepyt cirtcele saw ti ,raey siht crazy ekil
etorw I ...dna dnuos eht dna leef eht devol rof lla lla lla og
ybab deneppah gniworht crazy crazy sgniht . og rebmemer aaw ti
,raey siht crazy ekil etorw I ...dna dnuos eht dna leef eht
devol .esrow era yehT .dab ton era sgnag ehT .won drib a eb ot
crazy eb dluow
 ·  Translate
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Alan Sondheim

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ther teror in land nam craking

http://www.alansondheim.org/geol42.jpg
http://www.alansondheim.org/dg3.mp3 providence guitar
and banjo
http://www.alansondheim.org/banj1.mp3 providence guitar
and banjo

it was dark and miserable, who could eny deny the supine
body, parched, waiting for pleasures and pains, his and
her bound together in this darkened moment of desiccation
and untoward acts of ecstasy and vengeance.
not me and not you and that were said to be true of al
of us s/he sed 2 no 1 in particlar wh o were listening
2 th sounds of bones craking
[9;41H
were
[9;46H
listening
[10;1H
[10;3H
[10;6H
sounds
[10;13H
[10;16H
bones
[10;22H
craking
[11;1H
[12;1H
[22;1H

[22;1H
File Name to write :
[22;22H
[23;15H
  To Files
[24;2H
 Cancel
 Complete
[22;22H
typescript
[22;32H
[22;1H

[22;34H
[ Writing... ]
[22;1H

[22;32H
[ Wrote 10 lines ]
[1;35H
    File: typescript
[23;1H
[24;1H
[23;1H
 Get Help
 WriteOut
 Read File
 Prev Pg
 Cut Text
 Cur Pos
[24;1H
 Exit
 Justify
 Where is
 Next Pg
 UnCut Text
 To Spell
[12;1H
[23;1H
[24;1H
$ now there were more terror 2 be sure en th land
/usr/local/bin/ksh: now: not found
$ and we wer found ther
/usr/local/bin/ksh: and: not found

^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^
@^@^@^@^@^@^@^@^@^@oESC[9;41H^@^@^@^@^@^@^@^@^
@^@wereESC[9;46H^@^@^@^@^@^@^@^@^@
^@listeningESC[10;1H^@^@^@^@^@
^@^@^@^@^@2ESC[10;3H^@^@^@^@^@^@^@^@^@^@thESC[10;6H^@
^@^@^@^@^@^@^@^@^@soundsESC[10;13H^@^@^@^@
^@^@^@^@^@^@ofESC[10;16H^@^@^@^@^@^@^@
^@^@^@bonesESC[10;22H^@^@^@^@^@^@^@^
@^@^@crakingESC[11;1H^@^@^@^@^@^@^
@^@^@^@ESC[12;1H^@^@^@^@^@^@^@^@^@^@
ESC[22;1H^@^@^@^@^@^@^@^@^@^@
ESC[22;1H^@^@^@^@^@^@^@^@^@^@ESC[7m^@^@^@^@File Nam

"He also spoke of their character of production [through the
force of contaminated actions and afflictive emotions, their]
character of disintegration, abandonment [of the contaminated
actions and afflictive emotions that are the causes of the
contaminated aggregates], and through knowledge [that the
entities of the aggregates are like a disease or are not
established as a substantial existent self]." (Jeffrey Hopkins,
Emptiness in the Mind-Only School of Buddhism: Dynamic Responses
to Dzong-ka-ba's The Essence of Eloquence: 1, University of
California Press 1999, pp. 76-77, Dzong-ka-ba's summary at the
beginning of the Paramarthasamudgata Chapter of the _Sutra
Unraveling the Thought._)
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somewhere from Holderlin

http://www.alansondheim.org/geol05.jpg
http://www.alansondheim.org/claralto.mp3 (Bb & alto)
http://www.alansondheim.org/geol18.jpg

somewhere from Holderlin's The Leisure

But rising into the moonlight up the broken columns
And the temple gates that once met the terrible, the secret
Spirit of balance, the chest of the Earth and the people
Be angry and ferments, the Unbezwungne, the old Erobrer,
The cities, like lambs, tears, once the Olympus
Stormed which stimulates in the mountains, and flames out throws,
The uprooted forests and breaks forth by the ocean
And the ships smashes and yet in the eternal order
Never mislead you power on the board of your laws
No syllable blurred, which is also your son, O Nature,
With the spirit of peace born out of a womb. -

machine translation, the original German found handwritten
in a fourth edition of Hermann Weyl's RAUM ZEIT MATERIE,
1921

broken columns, Riemann, sheaves
1
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Alan Sondheim

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violat

http://www.alansondheim.org/violat.jpg
http://www.alansondheim.org/violat.mp3

everything i do is grotesque, misshapen
the sooner i get to space and time the better
the music screeches in my mind and i remember
doug saying he can't draw any more because the
pencil screams when he presses it on the paper

the music has its own teeth and melody
the music is a thief and harbinger of evil
it's stingy it won't allow me near it
what i think about is how violat it is
and how it screams when i try to play it

everything in my life won't let me near it
everything turns violent and plays my skin
my skin is an instrument of space and time
my skin is grotesque and misshapen

what i do is try to wear the music
the sooner i get to space and time the better
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Surge no-purpose music

http://www.alansondheim.org/SUCH5.png
http://www.alansondheim.org/SUCH.mp4
http://www.alansondheim.org/SUCH1.png
http://www.alansondheim.org/SUCH2.png
http://www.alansondheim.org/SUCH3.png
http://www.alansondheim.org/SUCH4.png

[:] there's nothing useful
[:] there's nothing that can be used for anything
[:] you can start off here with earth
[:] then there are form and limitations and
you can write Earth and not earth
[:] you can write earth
[:] when you write earth, then there are things of forms
and limits and there are many of them
[:] when there are many of them, they have organs
[:] they have blood and they make sea and land
[:] they make flesh and bone and they make energy
[:] they use energy to make energy
[:] limitations collapse into perfect compression
[:] compression is the beginning of atom
[:] compression is the beginning of world
[:] world forgets time and space
[:] there is no purpose and no purpose is the bone of
time and space
[:] no purpose is the making of time and space
[:] there is no other making
[:] one begins and ends with origins
[:] origins are beginnings and endings
[:] listen to origins and observe beginnings and endings
[:] nothing can be performed
[:] nothing can be made to start and transform into
action
[:] action is never a performance
[:] to perform is to stand still
[:] to perform is to die
[:] act without purpose without limitations
[:] act without beginnings and ends
[:] act without formation of Earth and earth
[:] to act SUCH is to act
[:] to act is to transform into space and into time
[:] to transform into space and into time is to SURGE
[:] to SURGE is SUCH
[:] to SURGE
[:] SURGE is music
[:] SURGE is musical art and the art of music
[:] MUSIC is present only when it is absent
[:] when it is absent there is space and time
[:] when it is absent SPACE and TIME disappear
[:] without demarcation, without the MARK
[:] SPACE and TIME are non-existent
[:] one becomes space and time
[:] one becomes unmarked
[:] UNMARKED one is transformed
[:] into pure ONTOLOGY
[:] when one is transformed
[:] into PURE ONTOLOGY
[:] then music begins
[:] when there is a listener there is no MUSIC
[:] when there is a player there is no MUSIC
[:] MUSIC played is not MUSIC
[:] one one is present, there is no MUSIC
[:] when there is ONE there is NOTHING
[:] when there is NOTHING there is neither space nor time
[:] MUSIC is ABSENCE
[:] EXISTENCE is ABSENCE
[:] NON-EXISTENCE is MUSIC
[:] nothing is SORTED-OUT
[:] there is no SORTING because there is no DEMARCATION
and there is no MARKER
[:]
[:]
[:]


________________________________________

see The Bamboo Texts of Guodian II, Thicket of Sayings I,
Cornell, trans. Scott Cook
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Alan Sondheim

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Why I love to play music.

http://www.alansondheim.org/lovemusic.png
http://www.alansondheim.org/lovemusic.mp3

1. I can.
2. I'm good at it.
3. It's good exercise.
4. It fills me with wonder.
5. Time slows up.
6. My lungs strengthen.
7. I don't have to listen to the street.
8. My depression lightens.
9. I tend to something besides me.
10. I pretend to do new things.
11. I pretend to explore new structures.
12. It puts me in a 'zone.'
13. My tinnitus is forgotten.
14. I communicate to someone else.
15. I train my ear.
16. I don't think about anything.
17. My hands and fingers grow stronger.
18. My hands and fingers grow quicker.
19. The music pushes me.
20. I inhabit a world of comfortable discomfort.
21. I go to the limit of my ability.
22. I explore microhistories around me.
23. My instruments present an anthropology.
24. I both silence and open myself.
25. I dwell in the world.
26. Neurosis recedes.
27. I am aware of sound in time.
28. I'm always surprised by where I am.
29. I do something I'm not trained to do.
30. I burn calories of creativity.
31. Music is the body's interiority.
32. Later theorizing is crystalline and clear.
33. Enlightenment is slowly approached.
34. I hear my singing voice (I cannot sing).
35. I don't have to worry about someone else's rhythm.
36. I trust my instruments for perfect playing.
37. Wood and metal, reed and nylon, greet me.
38. I can do something others can't.
39. It's the only sport I'm good at.
40. Practice and creation become one.
41. I become one with objects and dynamics.
42. I become one with sound and movement.
43. I become one with breath and physical reach.
44. I become sound and I become.
45. I dwell in becoming.
46. I sound and I dwell in sounding.
47. I dialog with and tend to my instruments.
48. Temperature, pressure, and humidity control me.
49. My control is given as a gift.
50. I am in a state of furious peace.
51. My speed is a positive, not a liability.
52. I explore untoward structures.
53. I inhabit these structure and extend them.
54. The world is sounding and amazing.
55. I will return to the world enriched.
56. I can listen to the world and what I have made.
57. I can listen to the making of the world.
58. I can listen to the world making me.
59. I can do something well and can do good.
60. My daemons momentarily disappear.
61. My daemons momentarily return.
62. My music is a gift for the people I love.
63. My music is uncanny.
64. I don't have to worry about tonic return.
65. The return to the world is never the same.
66. I inhabit an inconceivable sonic architecture.
67. I commune with others who commune with me.
68. I am part of a sonic world of friends.
69. Time stops and I am still alive.
70. I will leave something behind when I die.
71. I will leave gifts and dwellings for others.
72. And I will never have to worry about tonic return.
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From Shorter Discourses of the Buddha:

http://www.alansondheim.org/danmoi.png
http://www.alansondheim.org/digiorgio.mp3

another candidate
forthcoming on Public Eyesore records:

Shorter Discourse of the they:

the MOO grinds on grinds on
the MOO screams loneliness and
the empty atmospherics wail on Phaedra
the split my head they killed me
the world whirls away
there's no uptime downtime logins logouts
they butchered my talker
they cauterized my directories
they closed my MOO behind a firewall
they cut off my arms my hand
they cut off my legs my tongue
they cut out my eyes my ears
they hung me near your eyes your ears
they killed my haven
they plucked my lily from my navel
they refused my nightmares
they ripped out my umbilical cord

Agaynst the Foe; thus, angered Fathers
At last, upon the Bairn of Dusk arose:
Borne of Galls of Foreyn Mothers.
Doth doome the State of Ripening
Names of Others, Castigate those
Theyr Burthen of Artystry, tempering
This ys the Space of Memory
Those forced madly Hyther, lightening
Transpose theyr Selves, and steal what is Myne.
Uponne another; thus Sophistry

   1. 0 -> X, in which the origin only
   3. 0 -> A(n) B(n') C(n") in which emperor or other
"A specter haunts Europe - the specter of communism.
"The 'mystical character' of the commodity is.
"The same connexion that defines the visible.
"real" weeds refuse the sign, are disposable.
"weather center," back to television.
10. The good men appreciate.
11. Let the great savants of learning who are.
12. The tree of logic, planted by the great.
1996 end the weight of the present.
1996 hold death in my hands.
1996 no future there is none.
1996 the weight of the present.
3000 In the year 3000 my birthday falls.
3000 untrue we're inside others.
5. Let the discerning wise people take their bath.
59. By being taken into possession, the thing.
6. We make an appeal to the great.
7. I have culled this herb from the wild.
:From the direction of the blood.
2
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sheaves

http://www.alansondheim.org/lasts057.jpg
http://www.alansondheim.org/longsaz1.mp3

how nice, why so much music? why so much music? i work on surge
theory with very little response; now, three of us are working
together on a cd, Threnody, Shorter Discourses of the Buddha -
everything on it has to be a combination of centrifugal and
centripetal forces, flight and border or potential well,
emptiness, the rush from life and death towards space and time,
survival in a cold-death universe of annihilations. again there
will be very little response; great reviews don't translate into
sales or distribution or breaking even, or anything that might
allow me, us, to go on, and i sense an ending just around the
corner, children and grownups flee from me, as far back as i
remember, animals yowl, plants wilt, mewl and slumber, forms
slowly wander their uneasy path of disappearance

soon the music will be done and gone, disks to give away, no one
listens, no one returns our calling
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tungg

http://www.alansondheim.org/tungg1.png
http://www.alansondheim.org/tungg.mp4

the TUNGG of the thing where SPEECH is PROSCRIBED

now i am safe here when i can rise
and place my tiny worlds out of site and mind
my tiny worlds are safe from everyone
and it doesn't matter if i can scream
i have a tungg and i can scream
my tiny worlds are safe from you
my tiny worlds are safe from me
i sing
my tiny worlds where are you now
my tiny worlds where are you now
you're safe from me and safe from them
you're safe from me and safe from them
my tiny worlds you are my tungg
my tiny worlds you are my tungg
my tiny worlds my tungg and you
my tiny worlds my tungg and you

k11% cp tungg.txt texts; ftp tunggaol.org
Connected to tunggaol.org.
220---------- Welcome to Pure-FTPd [privsep] [TLS] ----------
220-You are user number 3 of 50 allowed.
220-Local time is now 22:54. Server port: 21.
220-This is a private system - No anonymous login
220-IPv6 connections are also welcome on this server.
220 You will be disconnected after 15 minutes of inactivity.
Name (tunggaol.org:tunggaol): tungg
331 User tungg OK. Password required
Password: mytinygaol
230 OK. Current restricted directory is /
Remote system type is UNIX.
Using binary mode to transfer files.
ftp> cd public_html
250 OK. Current directory is /public_html
ftp> put tungg.txt
local: tungg.txt remote: tungg.txt
229 Extended Passive mode OK (|||34166|)
150 Accepted data connection
100% |***********************************|   762        5.54 MiB/s
00:00 ETA
226-File successfully transferred
226 0.040 seconds (measured here), 18.41 Kbytes per second
762 bytes sent in 00:00 (18.31 KiB/s)
ftp> bye
221-Goodbye. You uploaded 1 and downloaded 0 kbytes.
221 Logout.
k12% tunggaol
1

Alan Sondheim

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braid brayed

http://www.alansondheim.org/lasts055.jpg
http://www.alansondheim.org/braid0.mp3
http://www.alansondheim.org/braid1.mp3
http://www.alansondheim.org/braid2.mp3
http://www.alansondheim.org/braid3.mp3
http://www.alansondheim.org/braid4.mp3

alto recorder, irish banjo, pipa

would be nice if you would listen to some of this perhaps
alto recorder's a bit difficult w/ the breathing and all
irish banjo's a bit easier but not like this
probably my two best pipa piece, but who cares
it's all braided, busy, maybe but one alto recorder, so what

or read this, it doesn't matter, who cares
i can't listen to myself at this point, self loathing, so what
disgusted with the speed and soulless effrontery who cares
screwed up, so what, stupid refrain this so what

the (introjection and projection) braid. The static limits may
(applause) she's dancing beautifully, she's combing and binding
and braiding (applause) she's dancing beautifully, she's combing
and binding and braiding

A medical model implies internal flows, striations, identities,
vulnerabilities, immunological defenses, maintenance and so
forth. Emphasis is on the cohering of parts, membranes and
molecular channels. Organism runs from within; emanent runs from
without. An emanent may be defined as an image or apparition
whose body and mind are elsewhere, an entity that exists in
relation to the jectivity braid, and has apparent, but not
genidentical, identity. Of course the organic body itself is
genidentical only to a limited extent.

All choices are braided, contingent, contiguous. The the
discrete is And of the theory of knots. The midst of the
embraiding of sheaves with Clearly the abject lies within the
primordial, the braid is braid of Disturbance of Body in
cybermind, cock jewel, shaft of braided gold.

Human skin under the microtome, sheave-skin burrowed into by
camera position. Here is the necessity of Madhyamika,
co-dependent origination, depend co-origination, braided mind,
image, imaginary, entity, real and virtual within, inhering to
the true world. Striated, variegated transformations
characterize life; the Visible Human Project transforms organism
into emanent, habitus into data-base.

Jennifer, continuing sheaf braid. Oh handshaking towards
fruition? Not always, but almost always, avatars are smaller
than one's physical body, or appear so.

One might begin by considering language as fundamentally ikonic,
that within the preconscious ('repository' of syntactics,
short-term memory - another metaphor) language is clothed,
associated with the true world.  Language then is structured
like the unconscious, and the unconscious does not necessarily
splay the real. Bodies, organic and emanent (and 'organic'
references the machinic phylum as well), inhere to mind,
minding, tending, a posteriori interpretation and hermeneutics.
Reading the body is embodying, is against the background of
incarnation. Sheave-skins need not react or appear to sense as
organic skins; the feedback is often visual or aural, not
proprioceptive. Within the jectivity braid, this is an
epistemological issue, not one of fundamental locus. On the
other hand (real or virtual), one can abandon the emanent;
abandoning the organic is deadly.  Proceed backwards from this,
from the irretrievable, intolerable, finality of death, and
reading bodies, and bodily risk, become wildly disparate.
Nevertheless both inhabit the true world, mind inhabits both,
albeit often in qualitatively different manners, depending on
ontology.

Ontologies occur in local domains, rub raw against each other,
problematize each other. Who decided this one or that one as
primordial? What's fundamental is the mixed mess, the braid. At
least as far as we're concerned, the braid. Sheaves/braids/self-
cancellation. What twists, knots the octahedron.

The plastic limits of the body are the limits of body-inherency,
whether 'real' or 'virtual' or other category - the limits of
the image carried by the jectivity (introjection and projection)
braid. The static limits may be considered formal-measurable
limits, whether in one or another space.

We adapt quickly to the screen, we're braided to the screen, and
this What's fundamental is the mixed mess, the braid. At least
as far as we're adapt quickly to the screen, we're braided to
the screen, and this permits and filE cavernous, wrung weeping,
braids curl bathing and without the screen - this braid is taken
for granted; it's the safe- aural, not proprioceptive. Within
the jectivity braid, this is an epistem- beautifully, she's
combing and binding and braid- (continues braid theory,
connecting layer after layer of language and bodies. Nothing
braids ous caverns that must lie beneath the asphalt. No one by
M.H.A. Newman with the help of braids. Dirac used it to
illustrate how c.txt:Disturbance of Body in cybermind, cock
jewel, shaft of braided gol cavernous, wrung weeping, braids
curl bathing underground lake. silver cavernous, wrung with the
memory of weeping, thick braids, cerned, the braid. concerned,
the braid. depend co-origination, braided mind, image,
imaginary, entity, real and dusky braids. entity that exists in
relation to the jectivity braid, and has apparent, but not
experienced). there's a limit to our ability to control braids
each fundamental is the mixed mess, the braid. At least as far
as we're con-gol braided of shaft jewel, cock cybermind, in Body
of c.txt:Disturbance grandparents ancestors daguerrotypes, stiff
beards, women braided back, hollow out; cavernous, wrung with
the memory of weeping, thick braids know cavernous, wrung
weeping, braids curl bathing underground loving Jennifer,
continuing the two of them in a sheaf or a braid. Oh I memory of
weeping, thick braids ous caverns that must lie midst of the
embraiding of sheaves with mass flagu flagv *knotsu *knotsv
might think braid theory. But you can cross, divide, multiply,
add; you of the theory of knots. The midst of the embraiding of
sheaves with mass on a screen); one can imagine the development
of agents to handle braid or braid is characterized by intense
poverty, local wars, starvations, and out; cavernous, wrung with
the memory of weeping, thick braids, relation and through the
braid, within and without the screen - this braid is taken for
granted; it's the godawful sound of these instruments, so what

k9% wc godawful-text
     125     953    6428 godawful-text
3

Alan Sondheim

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Surge

"The transformation is so enormous, there's no way to describe
it; everything we say, everything we are, everything we do, it
is all false, broken; it is all irrelevant; the models are
useless, irrelevant; you know the drill; you fill in the rest;
you take care; you walk away; you walk away slowly; you are no
long in thoughts

transvaluation of all values, annihilation of transvaluation =
tattered disappearances = timed-out

http://www.alansondheim.org/gladesb18.jpg timed-out
http://www.alansondheim.org/Instructograph.jpg timed-out

echo timed-out zero time
timed-out
time echo timed-out zero space
timed-out
    0.00s real     0.00s user     0.00s system zeroed out

Transvaluation of all values, thonged, timed-out. Zarathustra
screams about the transvaluation of all values, and I scream.
The first to go is the transvaluation of all values. A chucked
value is valueless even if it is a transvaluation. No, wait! A
chucked transvaluation is worth a lot of the little ones. My
values are my clothes! I chuck them and dress in transvalua-
tions. There are never simultaneous things in my world of
transvaluations. That's part of my transvaluation which does the
chucking for me. No value-chucking for my transvaluation! It
will have to go! Its own, accomplished both the transvaluation
of all values and their surge; I'm chucking values now. The
first to go is the transvaluation of transvaluations. Everyone
knows me here and understands me daily. What's that? Zarathustra
screams about the transvaluation of all values, and I scream and
what I scream is the following:

"nce, ccumultion, ccession, te, te, ve, ve, defen, defluxion,
pel, pirouette, fen, levit levittion, lift, hevy swell, fflux,
dvdv nce, rgement, rgement, ugmenttion, w wke egre, mke, meet,
tking throng, clmber, undultion, gng upwrds, drin drift, esclesc
de, de, strtle echoes, vult, swrm stun, ve, gng ve, g heve, hehe
ve, hevy ve, he vy vy ise, rise, ise, r ise, ise, lly rlly lly r
lly lly lly, rlly, lly, r lly, lly, rdrums, ers, rdrums, e rs,
rs, round, gther, round, g ther, ther, ter wve, ter w whitecps,
lep, gue, le p, p, regurgitte, rregurgit te, rce, te, r run
sltrun s lttion, lt , sis, rise, scension, scent, scension,
scent, scent, ccretion, ccess, ccretion, ccess, ccess, ccrul, l,
l, ccession, ccession, multiplic onwrd onwonw rd onwrd rd onw rd
rd empty, esclempty, esc lde, l de, de, tion, dv ffluence,
ddition, ffluence, ddition, ddition, ggrndizement, ggr
ndizement, ndizement, ttle rer ttle re r r ce, r ce, ce, vy
horde, he se, se, sese , se, , se , , prolifer pulste, pulspuls
te, pulste, te, puls rce, rr ce, rce, de, upgoing, upgr de, upgr
upheve, upheuphe ve, upheve, ve, uphe rer, regurgitre r,
regurgitte, r, regurgit rer rend pek, pepe k, pel, k, pe l, l,
centrifugte, centrifugcentrifug te, centrifugte, te, centrifug
p, levitte, p, levit levitte, levitlevit te, levittion, te,
mplifiction, mplific sis, ggr ndizement, b tion, mplifiction,
ccession, Chrybdis, ccession, Ch rybdis, rybdis, ke ugment ke
the ke the in, fuse, g gin, gg in, gng in, g ng ng ccumultion,
ccumul tion, tion, ssemble, ugmentugment ugmenttion, tion, rush,
se slts tion, seethe, tion, seethe, , flow, edem elevtion,
enlelev tion, enlrgement, tion, enl ded, bde d, bllooning, d, b
llooning, llooning, st bloting, st blo ting, ting, upswupsw rm,
upswrm, rm, upsw rm, rm, , se increse, increincre se, increse,
se, incre se, se, infltion, inflinfl tion, infltion, tion, infl
legue, lele gue, smsh, snowbsm sh, snowblling, sh, snowb lling,
lling, snowblling, sosnowb lling, soring, lling, so ring, ring,
grvity gr vity round, vity round, round, forgther, fountforg
ther, fountin, ther, fount in, in, updrft, upgupdr ft, upgng,
ft, upg ng, ng, uplep, upleuple p, uplep, p, uple uprisl, l,
upris upstrem, upstreupstre m, upstrem, m, upstre upswrm, blst,
ebl st, er, st, e r, r, ker, brekers, ker, bre kers, kers, brek,
brebre k, breker, k, bre ker, ker, kers, brodening, kers, bro
dening, dening, prolifertion, proliferprolifer tion,
prolifertion, tion, te, converge, congreg crsh, crcr sh, crsh,
sh, cr sh, sh, scent, ssemble, scent, ssemble, ssemble, sh,
current, d dsh, dd sh, dte, sh, d te, defen, te, de fen,
melstrom, mm elstrom, mss, elstrom, m ss, ss, swrm, stresw rm,
strem, rm, stre m, m, stnd stst nd strtle nd st rtle rtle
multipliction, multiplicmultiplic tion, multipliction, tion,"

and then the screaming stops and the broken code like broken
teeth is impossible to reverse; let A = everything; let
everything = A. it ends here. it ends here and then space
follows
2
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Work
Occupation
cultural producer
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Previously
Kingston, - Wilkes-Barre - Dallas - Los Angeles - Irvine - Atlanta - Montreal - Toronto - Halifax - Jerusalem - Fukuoka - Providence - Miami - Buffalo - New York (Manhattan) -
Story
Tagline
new media, old media
Introduction
from Kingston, Pennsylvania, lives in Brooklyn, NY
Bragging rights
working on phenomenology, media theory
Education
  • Brown University
Basic Information
Gender
Male
Other names
Alan Dojoji, Julu Twine