Re: [7-11] interview for m.a.g.

On Wed, 4 Dec 2002, Alan Sondheim wrote:

One very lovely confessional as priorly reflected by D42.

> Alan Sondheim: I see one leading into the other; I was doing 'interference'
> computer work and programming back in the 70s already. I'm not sure btw
> that my work is 'poetry' - it's texting, languaging, of one form or
> another.

C'est vrai, c'est vrai.

> My work has always been 'wayward,'

Unsynchronized with intent.

> disruptive, contrary, and off-and-on sexualized;

Tak + tak. Attempts of appropriation of sexual energy via
verbal discourse, as observed. Abr. NN does this 'simply Superior'.

> it's also been philosophical and what I consider 'resonant' -
> in the sense that every work capitulates the others.

> AS: Probably ask him or her to try and read it as trance-work;

Ie, in a state of suggestible + defenseless stupor.
An abuse of language aso utilized by von Messiah.

> it will come after a while, begin to make sense. Short-waves and long-waves will appear
> and disappear. One reader told me that the words ultimately seemed to come
> to him from himself - not from the text; this is a good idea of the
> writing.

Suggestibility is excellent, n'est pas?

> AS: Yes - recently there have been so many different venues - video - at the
> Robert Beck Memorial Cinema; laptop performance at a number of places
> (Minneapolis, Bass Museum, Cosh-Coch); sound (Flying Saucer Cafe); and
> these mix with straight-forward readings.

Absolument. Major tools for peddling illusions of 'the other'
sound (music) + 'languij'. Basis of functioning : identification
with brain.

> AS: None yet, in terms of acceptance. The development of a new language

"New languij".

> AS: Perhaps what is my attitude towards new media? To which I'd reply I work
> on ideas, and the media come out of this. In terms of music, I'm
> interested in the labor of production, and speed - playing as fast as
> possible - as a way to inscribe the body into the work.

Tzzt. Very familiar.

> Video allows me
> the greatest lattitude - a way to involve the subject almost in the 'flow'
> of the work through projection. And laptop performance/projection gives me
> a way to inscribe myself into the audience,

Flat + viral host possession. Ego-body hopping, etc.
Also as practiced by NN. Max G2K.

> and to introject their
> reactions - in the midst of image-streams.

What was real in the world?
Asked the Angel of Death.
The danger of dreams + hallucinatory delusions.

0995 wrote :

_^[ ~ /eskape.. broken_hyv'b2385:
Was war wirklich im All? War All
was wirklich im? Im war was
wirklich All?. . , . / / , . .
IIIIIIIIIIII
die_Todesgef@hr//: what was real
in the world? The danger of
dreams..

d r e a m s t a t i k - absolutized
pure desire suspended in time
without distortion in perception;
voices of sirens. . . . . IIIIIIIII

"This is the stuff of dream and
desire, of life going right.. "



http://www.punkassbitch.org/SchoenStatisch01.html
http://www.punkassbitch.org/SchoenStatisch02.html

Sexual desire belongs to the realm of the senses, and these senses are
deluding us. We might recall Laozi's saying that the five senses make a
person blind and deaf.

The very vital Alan Sondheim:

In Buddhist mythology, one particular figure incarnates the vital–yet
deadly–drive that animates and binds all beings. This mythical figure is
Mara, the Evil One, also conceived of as Kama, Desire.

Tak.

Seeing as how Alan Sondheim agrees with us, we find Ja's 'defense'
rather silly.

xo.