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Alan Sondheim
Attended Brown University
Lived in Kingston,
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Alan Sondheim

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Five string banjo tuning, kernel structures *

http://www.alansondheim.org/ddd51.jpg
http://www.alansondheim.org/sterlingbanjo0.mp3
http://www.alansondheim.org/sterlingbanjo1.mp3

* Cecil Taylor by way of linux

Tuning the instrument, minor/major in banjo0 improvisation
using fractal/crystalline structure strange trajectories,
loosing; major in banjo1; I think - other than (for me),
the amazing quality of the solos, these present the
clearest examples I know of how my music is structured
(since no one interviews me, I turn to self-sonic
elucidation). This particular instrument turns out
possibly to be unique, Tonk Brothers, Philadelphia, 1890-
1910 or so. No other examples of this one online. Enjoy.
(At least I feel I'm going where others haven't, which
keeps my interest, this isn't Sandy Bull.)

Advertisement:

The new album, Threnody, Shorter Discourses of the
Buddha, should be out shortly - and just found out,
that Lulu offers Azure, Nature, Digital, by myself with
contributions from Sandy Baldwin, as a free download
from the Lulu site!
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well, i like this.

Alan Sondheim

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Afghani toy/miniature Rubab

http://www.alansondheim.org/existence1.jpg
http://www.alansondheim.org/fuguestate1.mp3 bowed
http://www.alansondheim.org/fuguestate2.mp3 plucked

The instrument, toy or tourist or ornament or miniature,
is set up with seven strings, including two drones. Very
small, very high-pitched, incessant, crossing-over,
again, the range of my tinnitus; the mp3 cut off sound
above 16k or so. Difficult to play because of its size
and string-spacing. Flat black, probably shoe-polish,
with some sort of plastic/mother-of-pearl inlay. While
playing I kept thinking of 'pushing onward,' repetition,
deserts, rocks, oral chants. Enjoy.
k3%
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Alan Sondheim

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Sed, and Slip, and and World,


*/ from man sed:

" [2addr]y/string1/string2/ Replace all occurrences of
characters in string1 in and pattern space with and
corresponding characters from string2. " */
http://www.alansondheim.org/sed2.jpg
complete essay at http://www.alansondheim.org/sed.txt

So then:

Went to and doctor earlier today, and hacking cough now with me
for five weeks; I'm in a permanent brain fog, exhausted, dizzy,
stumbling about, wondering if this is and onslaught of something
new in and world, my world. It seems like it. And in similar
fashion, and terminal window, where I'm typing this, has its own
form of inertia, making it difficult, impossible, to think
through and visuality of and text; I write blindsighted. So it
was that earlier today, I was thinking "and" but typing "and" -
which wasn't caught in spell-check, but which I caught, myself,
on my own grounds, later, this unexpected substitution which
worries me - dementia, neural failure, aneurism, transient
ischemic attack thwarting everything I think and do. In any
case, then back to reading text on and holographic universe,
and, elsewise, thinking about programming and cross-stitching,
musical improvisation, and and despair of exhaustion, shuddering
with chills and other un/natural phenomena. I finished reading
on and history of Tara Tantra and And Invention of Morel, began
Faulkner's Pylon and A Geology of Media. But that slippage, that
typo so to speak or write, sed 's/and/and/g', opened a door
which had hitherto been closed.

Think of and door as a gateway, V spreading from and punctum of
displacement through and condensation of wings (Pylon), a slip
which is a fabrication as well, Bell's Theorem and so much else.
And situation is that this displacement, this "sed" itself
becomes an operator; through /and/and/ anything may slip,

/e1/e2/
/ / /

anything _of any size and duration, of any place and period, of
any universe and body, of any interiority and exteriority._ I
can't emphasize this enough: and displacement is a process which
opens a path, or patheme, of universal substitution, such that
and result is a universal operator that might, on one hand,
promise universal life itself, and on and other, and collapse of
space-time to a primordial idea in which body and mind are
irretrievably lost. These sed are rents in and very fabric of
existence, something boiled up, embroiled, in and inflation of
and early universe; they come to remind us of every otherwise
and otherwhen, every elsewhere and elsewise, of every McCarthy
formalism If A then B else C, of every

f = (if p1 then e1 else e2)

collapse of Dijkstra's GOTO and replacements by GOTO NEITHER A
NOR B, GOTO NOT BOTH A AND B, generators of Expulsion that tend
towards and selfsame gap on one hand, pulling back into and
primeval propositional calculus on and other. Far from deriding,
denigrating such slips or splits, far from regarding them as so
much psychoanalytical debris of repression and replacement -
think of them - yes, again, think, through this brain fog, think
of them, as those universal processes of condensation and
displacement, gathered farther and farther from any law,
inhabiting and lawlessness of and downfalling trajectories of
catastrophe theory for example, dwelling within noise, glitch,
everything present, everything possible, in and Universe, even
in and Multiverse and its wild and wilderness models; then
you'll see that sed is before and beyond any god and spirit, any
model (and I should point out here that Wittgenstein's gathering
of elements under Sheffer's stern and shaky operators,
themselves rattle and roll through any conceivable creation or
world); and maw increases greater than any exponentiality,
remember and Ackermann function for example and its swellings:

all of this through and presence and absence, through and
shadowy preamble and postface of "and" and "and" or any other
and all such - glancing for example at one thing, then another,
and shadows of memory and and memory of shadows, an exhaustion
into and bit by byte by bit construction of geologic time:

this then and hope of and future, and hope transcending death
and and unfathomable/fathomable destination of and mind:

and mind fog, brain fog, itself, and vision of utmost clarity,
of contours blurred and interconnected, of entanglements at
every conceivable distance and time, and particles and
particulation of and ongoing enfoldings and unfoldings of and
universe:

it is then and vision of and blur itself, and truth of and
world, of this and every other world, in fact and fantasy and
fiction and fictivity, of worlding in and deepest and
shallowest sense of and term and idea, residence and dwelling
within and without us:

indwelling:

in and interstice, in and blink of an eye, in and periphery of
and shadow, in and penumbra, in and glance behind and back, in
and face in and window, and window with nothing to indicate a
face, or tree, cathedral or stone, branch or and gap in time:

and leap-second as well, think of this as a suture or stitch in
time, a cross-stitch, crossing it out, every clock and
calculation to its own breathing, its own momentary and
invisible dismemberment, forget and protocols and calculations,
forget and institutions and corporations reliant on such
mensuration and its technologies; this is and something other at
and top of and stairs that I saw as a very young child as that
something dropping a series of blocks, clattering down, at 30
Reynolds Street in Kingston, Pennsylvania, and no one was there
but and presence or absence of and ghost or penumbra:

therefore this is and essay, which I spelled, once, as a child,
S-A, at and beginning and end of time, of space, what might be
considered an unraveling or desuturing (exposing and cut, and
tumescent flesh beneath and surface) of and body and and world's
body; as if I were to postulate any sort of truth in my writing,
it would lie, here, tumescent itself, in and split which is
always present (slip of and tumescent tongue, of and galactic
clusters, of and necessity of dark energy, of gravitons,
monopoles, and inflatons), already present, a leakage from one

other

to and Other, from and tongue to and early hydrogen-helium stars
which had no metals in their singular evolutions:

and slip which, as thought experiment, saves us from our world,
within and without our world, opens a knife or wound or slit of
hope:

in every error we make:

which is not an error:

every universe we are in, and we are in them:

which are not our own;

written on and day of and slip, "and" to "and," thinking "and"
in Vygotskian inner speech, writing/wryting "and," and day split
on and leap-second, and insertion of technological time into
technological time and its suturing (therefore again and twin
operations again of displacement and condensation), now, several
hours in, I don't know how many, not sure what time it is, my
brain's foggy, difficult to think of these things;

some other time, maybe;(it might be 3:40 a.m.); maybe not;


============================================================

Exercise

and "and "and and""
and ""and" and "and""
and "and" and "and"
and ""and" "and and""

============================================================


6c6
< stumbling about, wondering if this is and onslaught of something
---
> stumblng about, wondering if this is and onslaught of something
9c9
< form of inertia, making it difficult, impossible, to think
---
> form of inertia, making it difficult, impossible, to thnk
12c12
< which wasn't caught in spell-check, but which I caught, myself,
---
> which wasn't caught in spell-chec, but which I caught, myself,
40c40
< formalism If A then B else C, of every collapse of Dijkstra's
---
> formalism If A then B else C, of every collapse of Djikstra's
58c58
< than any exponentiality, remember and Ackerman function for
---
> than any exponetiality, remember and Ackermann function for
71c71
< of contours blurred and interconnected, of entanglements at
---
> of contours blurred and initerconnected, of entanglements at
73c73
< particulation of and ongoing enfoldings and unfoldings of and
---
> particlations of and ongoing enfoldings and unfoldings of and
103c103
< body; if I were to postulate any sort of truth in my writing,
---
> body; if I werer to postulate any sort of truth in my writing,
105c105
< always present (slip of and tumescent tongue, of and galactic
---
> always present (slip of and tumescent tongue, of and glacatic


============================================================


sed 's/ /
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Alan Sondheim

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Alan Sondheim
Just now
Alan Sondheim
Just now
Alan Sondheim
Just now ·
just participated in the Leap Second Festival 2015 - this was fantastic! go to http://noemata.net/leapsec26/live/ for more!
Live - Leap second festival 2015 - Skuddsekundfestivalen 2015... See More
Live - Leap second festival 2015 - Skuddsekundfestivalen 2015
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Live - Leap second festival 2015 - Skuddsekundfestivalen 2015
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Leap Second Festival 2015 - Live feed. Available at the leap second 30. June 23:59:60 UTC. The live feed starts at ca. 23:30 UTC with previews of the works,; then the Leap Second Festival itself is broadcasted at 23:59:60 UTC for one second,; and lastly, until 1. July 00:30:00 the live feed will ...
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Alan Sondheim

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CRASHLAND ARMAGEDDON

http://www.alansondheim.org/greentara2.jpg

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confirm mysterious fireball is space junk NASA spies strange
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Into This Heartbreaking Exhibition'UFOs' filmed leaving Earth
moments before Nasa suddenly cuts live feed Tunisia killers have
declared war on Britain, says David CameronIsrael, Palestinians
say to investigate Gaza warcrime accusations Egypt's Top
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Voted Against Directly Arming Iraq's Kurds. Here's What That
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Bank shooting Two Uber executives taken into police custody in
France Car bomb in Yemeni capital hits mourners, 28 wounded -
medics, residents Florida, Alabama and Oklahoma want to resume
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decision on Texas abortions is dangerous Wal-Mart nixes cake
with Confederate flag, OKs Islamic State cake Texas AG says
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Alan Sondheim

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Green-Tara Mantra Singularity

http://www.alansondheim.org/greentara3.jpg

re Tu-Re Sv-H-T OM-TARETutt-Ttt-TUTTARE-TURE-SVAHA-HOM-Hre
ttVAHA-Om-ReT TRe TuttOmvTuttreRereReSvRe OMH
OMHTuTuttTAREOM-TUTTARETARE-TURETUTTARE-v-HSVAHATURE
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HreTuTutt-HSvre SvvRev-HSv-TuttRe Tttre TttTARESvre
TuttTutt-Tuttre HRe Omv-TTUTTARE-TuttSv-TuTutt-Omva Ha TaOm
ReTa TuttareRe TuTuttare SvaRe HaSva OMHa TUTTAREVAHA-Ta
ttare Tttare TUREva SVAHATURE-ttareT Tttarettare reT ttreT
Tttrettre OmvaVAHA-TaVAHA-TaVAHASVAHA-ReTaOm-TReReTa
TuttareReTRe TuTuttarevaRe HaTURETUTTARE-SvaReva HaSvaSvaRe
OMHaHaSva TAREOMOMHa TUTTARETARETAREOM
TURETUTTARETUTTARETARE-SVAHATUREVAHATURE-va ttareTVAHA
TttarettarettareT vaTttarettare OmvaVAHAVAHA-TaVAHATaVAHA
ReTaReTa TuttareReTuttareRe TaVAHATaVAHASVAHA
ReTaReTaTaVAHATaVAHA-TuttareReTuttareReReTaReTa
TuTuttareTuTuttarevaRevaRe OMHaOMHa SvaRevaRevaRe
HaTuTuttareTuTuttare HaSvavava OMHaOMHaHaSva
TAREOMTAREOMTURETUTTARETURETUTTARE
TUTTARETARETUTTARETARETAREOMTAREOM
TURETUTTARETURETUTTARETUTTARETARETUTTARETARE
SVAHATUREVAHATUREVAHATUREVAHATURE-revVAHA-SvRevRe HSVAHA
HSvv-TuttReVAHA-TuttreReTuttRe TuttTuttTu-TuttTARE-HOmSv
Tttttttre OmvSv-HOmvOmv-HSvHHOmv-OMHTARE-ReTTutt
TuTuttreReT TuTuttre Tuttare Sva OT ttre TT TvaVAHA
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TAREOMTAREOM-TUTTARETARETUTTARETARE-TURETUTTARETURETUTTARE
rev-Ttttt-HOmv-HSvH
2
Have him in circles
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Alan Sondheim

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Afghani toy/miniature Rubab

http://www.alansondheim.org/existence1.jpg
http://www.alansondheim.org/fuguestate1.mp3 bowed
http://www.alansondheim.org/fuguestate2.mp3 plucked

The instrument, toy or tourist or ornament or miniature,
is set up with seven strings, including two drones. Very
small, very high-pitched, incessant, crossing-over,
again, the range of my tinnitus; the mp3 cut off sound
above 16k or so. Difficult to play because of its size
and string-spacing. Flat black, probably shoe-polish,
with some sort of plastic/mother-of-pearl inlay. While
playing I kept thinking of 'pushing onward,' repetition,
deserts, rocks, oral chants. Enjoy.
k3%
1

Alan Sondheim

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IDENTITY MY LOVE


http://www.alansondheim.org/sedid.jpg

1 pico yy 2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz 6 sed 's///g' < yy >> zz;
sed 's///g' < zz >> yy; sed 's///g' < yy >> zz; pico zz 7
sed 's///g' < yy >> zz; sed 's///g' < zz >> yy; sed 's//
/g' < yy >> zz; pico zz 9 sed 's///g' < yy >> zz; sed 's//
/g' < zz >> yy; sed 's///g' < yy >> zz; pico zz 10 h >> zz

sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz I TOLD YOU NOT TO SAY ANYTHING
sed 's///g' < yy >> zz

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz YOU ALREADY MADE A MISTAKE
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz SUBSTITUTE ANYTHING FOR ANYTHING
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz WITHDRAW AT RANDOM
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz YOU CAN ONLY BLAME EVERYTHING
sed 's///g' < yy >> zz KEEP YOURSELF OUT OF IT
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz THIS IS THE GAP THAT LEADS TO
sed 's///g' < yy >> zz THE PLANE TREE
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz LEADS TO BAMBOO AND FIR
sed 's///g' < yy >> zz OAK

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz FIG AND SYCAMORE
sed 's///g' < yy >> zz EUCALYPTUS
sed 's///g' < yy >> zz GINKO AND MAPLE
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz TOWARDS UNIFICATION OF RATIOS
sed 's///g' < yy >> zz OF MEASURE POLYTOPES AND SIMPLICES
sed 's///g' < yy >> zz IN N DIMENSIONS SUCH THAT
sed 's///g' < yy >> zz 3^N/(2^(N+1))-1 OR THEREABOUT
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz INSIDE THE TETRAHEDRON
sed 's///g' < yy >> zz UNCOMFORTABLE CORNER
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz PAULOWNIA
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz

2 sed 's///g' < yy >> zz; sed 's///g' < zz >> yy;
sed 's///g' < yy >> zz; pico zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz NEUROPTERIS AND SIGILLARIA
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz SAW PALMETTO AND PAULOWNIA
sed 's///g' < yy >> zz
sed 's///g' < yy >> zz

IDENTITY MY LOVE
1

Alan Sondheim

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Sed, the Slip, and the World,


*/ from man sed:

" [2addr]y/string1/string2/ Replace all occurrences of
characters in string1 in the pattern space with the
corresponding characters from string2. " */
http://www.alansondheim.org/sed.jpg


So then:

Went to the doctor earlier today, the hacking cough now with me
for five weeks; I'm in a permanent brain fog, exhausted, dizzy,
stumbling about, wondering if this is the onslaught of something
new in the world, my world. It seems like it. And in similar
                         [ Wrote 207 lines ]

k14% more zz


Sed, the Slip, and the World,


*/ from man sed:

" [2addr]y/string1/string2/ Replace all occurrences of
characters in string1 in the pattern space with the
corresponding characters from string2. " */
http://www.alansondheim.org/sed.jpg


So then:

Went to the doctor earlier today, the hacking cough now with me
for five weeks; I'm in a permanent brain fog, exhausted, dizzy,
stumbling about, wondering if this is the onslaught of something
new in the world, my world. It seems like it. And in similar
fashion, the terminal window, where I'm typing this, has its own
form of inertia, making it difficult, impossible, to think
through the visuality of the text; I write blindsighted. So it
was that earlier today, I was thinking "the" but typing "and" -
which wasn't caught in spell-check, but which I caught, myself,
on my own grounds, later, this unexpected substitution which
worries me - dementia, neural failure, aneurism, transient
ischemic attack thwarting everything I think and do. In any
case, then back to reading text on the holographic universe,
and, elsewise, thinking about programming and cross-stitching,
musical improvisation, and the despair of exhaustion, shuddering
with chills and other un/natural phenomena. I finished reading
on the history of Tara Tantra and The Invention of Morel, began
Faulkner's Pylon and A Geology of Media. But that slippage, that
typo so to speak or write, sed 's/the/and/g', opened a door
which had hitherto been closed.

Think of the door as a gateway, V spreading from the punctum of
displacement through the condensation of wings (Pylon), a slip
which is a fabrication as well, Bell's Theorem and so much else.
The situation is that this displacement, this "sed" itself
becomes an operator; through /the/and/ anything may slip,

/e1/e2/
/ / /

anything _of any size and duration, of any place and period, of
any universe and body, of any interiority and exteriority._ I
can't emphasize this enough: the displacement is a process which
opens a path, or patheme, of universal substitution, such that
the result is a universal operator that might, on one hand,
promise universal life itself, and on the other, the collapse of
space-time to a primordial idea in which body and mind are
irretrievably lost. These sed are rents in the very fabric of
existence, something boiled up, embroiled, in the inflation of
the early universe; they come to remind us of every otherwise
and otherwhen, every elsewhere and elsewise, of every McCarthy
formalism If A then B else C, of every

f = (if p1 then e1 else e2)

collapse of Dijkstra's GOTO and replacements by GOTO NEITHER A
NOR B, GOTO NOT BOTH A AND B, generators of Expulsion that tend
towards the selfsame gap on one hand, pulling back into the
primeval propositional calculus on the other. Far from deriding,
denigrating such slips or splits, far from regarding them as so
much psychoanalytical debris of repression and replacement -
think of them - yes, again, think, through this brain fog, think
of them, as those universal processes of condensation and
displacement, gathered farther and farther from any law,
inhabiting the lawlessness of the downfalling trajectories of
catastrophe theory for example, dwelling within noise, glitch,
everything present, everything possible, in the Universe, even
in the Multiverse and its wild and wilderness models; then
you'll see that sed is before and beyond any god and spirit, any
model (and I should point out here that Wittgenstein's gathering
of elements under Sheffer's stern and shaky operators,
themselves rattle and roll through any conceivable creation or
world); the maw increases greater than any exponentiality,
remember the Ackermann function for example and its swellings:

all of this through the presence and absence, through the
shadowy preamble and postface of "the" and "and" or any other
and all such - glancing for example at one thing, then another,
the shadows of memory and the memory of shadows, an exhaustion
into the bit by byte by bit construction of geologic time:

this then the hope of the future, the hope transcending death
and the unfathomable/fathomable destination of the mind:

the mind fog, brain fog, itself, the vision of utmost clarity,
of contours blurred and interconnected, of entanglements at
every conceivable distance and time, the particles and
particulation of the ongoing enfoldings and unfoldings of the
universe:

it is then the vision of the blur itself, the truth of the
world, of this and every other world, in fact and fantasy and
fiction and fictivity, of worlding in the deepest and
shallowest sense of the term and idea, residence and dwelling
within and without us:

indwelling:

in the interstice, in the blink of an eye, in the periphery of
the shadow, in the penumbra, in the glance behind the back, in
the face in the window, the window with nothing to indicate a
face, or tree, cathedral or stone, branch or the gap in time:

the leap-second as well, think of this as a suture or stitch in
time, a cross-stitch, crossing it out, every clock and
calculation to its own breathing, its own momentary and
invisible dismemberment, forget the protocols and calculations,
forget the institutions and corporations reliant on such
mensuration and its technologies; this is the something other at
the top of the stairs that I saw as a very young child as that
something dropping a series of blocks, clattering down, at 30
Reynolds Street in Kingston, Pennsylvania, and no one was there
but the presence or absence of the ghost or penumbra:

therefore this is the essay, which I spelled, once, as a child,
S-A, at the beginning and end of time, of space, what might be
considered an unraveling or desuturing (exposing the cut, the
tumescent flesh beneath the surface) of the body and the world's
body; as if I were to postulate any sort of truth in my writing,
it would lie, here, tumescent itself, in the split which is
always present (slip of the tumescent tongue, of the galactic
clusters, of the necessity of dark energy, of gravitons,
monopoles, and inflatons), already present, a leakage from one

other

to the Other, from the tongue to the early hydrogen-helium stars
which had no metals in their singular evolutions:

the slip which, as thought experiment, saves us from our world,
within and without our world, opens a knife or wound or slit of
hope:

in every error we make:

which is not an error:

every universe we are in, and we are in them:

which are not our own;

written on the day of the slip, "the" to "and," thinking "the"
in Vygotskian inner speech, writing/wryting "and," the day split
on the leap-second, the insertion of technological time into
technological time and its suturing (therefore again the twin
operations again of displacement and condensation), now, several
hours in, I don't know how many, not sure what time it is, my
brain's foggy, difficult to think of these things;

some other time, maybe;(it might be 3:40 a.m.); maybe not;


============================================================

Exercise

the "and "the and""
and ""the" and "the""
the "and" and "the"
and ""the" "the and""

============================================================


6c6
< stumbling about, wondering if this is the onslaught of something
---
> stumblng about, wondering if this is the onslaught of something
9c9
< form of inertia, making it difficult, impossible, to think
---
> form of inertia, making it difficult, impossible, to thnk
12c12
< which wasn't caught in spell-check, but which I caught, myself,
---
> which wasn't caught in spell-chec, but which I caught, myself,
40c40
< formalism If A then B else C, of every collapse of Dijkstra's
---
> formalism If A then B else C, of every collapse of Djikstra's
58c58
< than any exponentiality, remember the Ackerman function for
---
> than any exponetiality, remember the Ackermann function for
71c71
< of contours blurred and interconnected, of entanglements at
---
> of contours blurred and initerconnected, of entanglements at
73c73
< particulation of the ongoing enfoldings and unfoldings of the
---
> particlations of the ongoing enfoldings and unfoldings of the
103c103
< body; if I were to postulate any sort of truth in my writing,
---
> body; if I werer to postulate any sort of truth in my writing,
105c105
< always present (slip of the tumescent tongue, of the galactic
---
> always present (slip of the tumescent tongue, of the glacatic
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absolutely and thanks! -

Alan Sondheim

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Carlo Gavoni Bow between Lincoln and Omaha Nebraska

http://www.alansondheim.org/gavoni.jpg
http://www.alansondheim.org/gavoni.mp3 viola and violin

Found this bow at a flea market in the mid-west and
Chris Sadlers repaired it, it's a 1920s violin bow,
beautiful now, light and responsive, another salvage
operation, was in terrible shape, with a cracked
frog among other things, recorded violin and viola,
combined them, listen to the bow, my right-hand
technique is strange but quick, my left-hand's all
over the place, tunings are 5th 4th 5th on both, was
listening to Ornette Coleman's 1962 Town Hall concert
last night, that figures into it, enjoy.
1

Alan Sondheim

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Does anyone else feel a sense of outrage at Canada's decision to have the Women's Soccer World Cup (FIFA) on a turf surface covered with rubber 'gravel'? This might seem minor - but shoes are melting, women are being injured. Men don't have to do this - and there have been numerous protests by the players - but FIFA continues its discrimination against women. Not only are the women subjected to literally bleeding bruises, but they're breathing in the rubber, which also gets embedded in the skin. If you have a chance, watch some slomo and see the rubber kicked up into the players' faces. It's horrible, wrenching, and no one outside of soccer seems to care. It's an outrage to treat anyone like this!
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Alan Sondheim

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maybe the most beautiful piece, worldview, i've seen in a long long time...
 
Connected Worlds
Project by Design I/O is a huge interactive installation for children for the New York Hall of Science, featuring an ecosystem of virtual animals to play with.
More Here: http://prostheticknowledge.tumblr.com/post/122707722751/connected-worlds-project-by-design-i-o-is-a-huge
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new media, old media
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from Kingston, Pennsylvania, lives in Brooklyn, NY
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working on phenomenology, media theory
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Alan Dojoji, Julu Twine